Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
585
Digital
Sheet Music
2,661
Sheet Music
Books
1,810
Music
Equipment
75
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
450
PIANO & KEYBOARDS
Piano, Vocal and Guitar
606
Piano, Voice
507
Easy Piano
32
Piano solo
21
Big Note Piano
17
Organ
7
Piano Accompaniment
5
C Instruments
5
1 Piano, 4 hands
3
Melody line, Piano
2
Organ, Piano (duet)
1
Accordion
1
2 Pianos, 4 hands
1
Instrumentations suivantes
Retracter
GUITARS
Melody line, (Lyrics) and Chords
102
Guitar notes and tablatures
50
Ukulele
14
Guitar
13
Bass guitar
3
Lyrics and Chords
1
4 Guitars (Quartet)
1
Mandolin
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
159
Vocal duet, Piano
85
Choral 2-part
43
Choral 3-part
39
Choral Unison
20
Choral TTBB
19
Voice solo
16
Choral SSAA
13
Alto voice, Piano
8
Vocal duet
8
High voice
8
Soprano voice, Piano
7
Tenor voice, Piano
4
Medium voice, Piano
4
Choral SSAATTBB
3
Baritone voice, Piano
3
Low voice, Piano
3
Choral SSATTB
1
Choral
1
Soli, Mixted choir and accompaniment
1
Soprano voice
1
Tenor voice
1
Mezzo-Soprano voice, Piano
1
Instrumentations suivantes
Retracter
WOODWIND
Saxophone Quartet: 4 saxophones
16
2 Saxophones (duet)
14
Saxophone Quintet: 5 Saxophones
13
3 Saxophones (trio)
9
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
8
Clarinet Quartet: 4 clarinets
8
Flute, Oboe, Clarinet, Bassoon
5
Flute Quintet : 5 flutes
4
Alto Saxophone and Piano
4
Flute and Piano
4
Clarinet and Piano
3
3 Clarinets (trio)
3
2 Recorders (duet)
3
Flute Trio: 3 flutes
3
Flute, Clarinet (duet)
3
Flute, Oboe, Clarinet (trio)
3
Clarinet Ensemble
3
2 Clarinets (duet)
3
Clarinet, Bassoon (duet)
2
Harmonica
2
Oboe, Piano (duet)
2
Recorder Quartet
2
3 Recorders (trio)
2
Clarinet Quintet: 5 clarinets
2
Baritone Saxophone, Piano
2
Flute Quartet: 4 flutes
2
English horn, Piano
2
5 Recorders
2
Tenor Saxophone and Piano
2
Flute, Violin
1
Clarinet
1
Recorder
1
2 Flutes (duet)
1
Clarinet, Trumpet (duet)
1
Descant (Soprano) Recorder
1
Eb Instruments
1
Treble (Alto) Recorder
1
Saxophone, Clarinet (duet)
1
Oboe ensemble
1
Flute (band part)
1
Tenor Recorder
1
Oboe, Clarinet, Bassoon (trio)
1
Saxophone ensemble
1
Instrumentations suivantes
Retracter
WOODBRASS
Brass Quintet: 2 trumpets, horn, trombone, tuba
7
Brass quartet : 2 trumpets, trombone, tuba
5
2 Trumpets (duet)
3
Horn Ensemble
3
2 French horns (duet)
2
Trombone and Piano
2
Trumpet, Piano
2
Trombone
2
Brass Quartet
2
Brass Quartet: 4 trombones
2
Trombone (band part)
2
English horn, Piano
2
French Horn and Piano
1
Trumpet (band part)
1
3 Trombones (trio)
1
Brass Quartet: 4 trumpets
1
Trumpet
1
3 Tubas (trio)
1
Clarinet, Horn (duet)
1
Trumpet, Trombone (duet)
1
Tuba and Piano
1
Bb Instruments
1
Trombone, Horn (duet)
1
Tuba and Organ
1
Bass Clef Instruments
1
2 Tubas (duet)
1
3 Trumpets (trio)
1
3 French horns (trio)
1
4 Tubas
1
Bass Trombone
1
Trumpet, Horn (duert)
1
Trumpet ensemble
1
Brass Quartet: 4 horns
1
Trombone ensemble
1
2 Trombones (duet)
1
French horn (band part)
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
21
Violin, Cello (duet)
5
Violin and Piano
5
Harp, Voice
5
2 Violas (duet)
4
Cello, Piano
4
2 Violins (duet)
4
Viola, Piano
4
2 Cellos (duet)
4
String Trio: 3 cellos
3
Violin, Viola (duet)
3
Harp
3
String Trio: 3 violins
2
String Trio: 3 violas
2
String Trio: violin, viola, cello
2
Violin (band part)
2
String quartet: 4 violins
2
Cello
2
String Quartet : 4 violas
1
Harp, Flute (duet)
1
Doublebass (band part)
1
Cello, Orchestra
1
4 Cellos
1
Violin
1
Viola, Cello (duet)
1
Viola
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
32
Orchestra
10
String Orchestra
7
Chamber Orchestra
7
Brass ensemble
7
Piano and Orchestra
2
Jazz Ensemble
2
Handbells
1
Percussion (band part)
1
Drums
1
Jazz combo
1
Percussion Ensemble
1
Instrumentations suivantes
Retracter
OTHERS
You've selected:
Music, Give Voice!
Sheetmusic to print
2,661 sheet music found
<
1
26
51
....
2651
Music, Give Voice!
Choral SATB
By Joel Raney. For SATB choir, Piano. Educational Octavo. Concert. Published by Heritage M…
(+)
By Joel Raney. For SATB choir, Piano. Educational Octavo. Concert. Published by Heritage Music Press
$2.50
2.26 €
#
Choral SATB
#
Joel Raney
#
Music, Give Voice!
#
Heritage Music Press
#
SheetMusicPlus
Something's Gotta Give: Vocal Solo
Voice solo
Arranged by Dave Wolpe. For Jazz Ensemble. Instructional. Part. 4 pages. Published by Alfr…
(+)
Arranged by Dave Wolpe. For Jazz Ensemble. Instructional. Part. 4 pages. Published by Alfred Music - Digital Sheet Music
$3.00
2.72 €
#
Voice solo
#
Something's Gotta Give: Vocal Solo
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Das Rheingold
Piano, Voice
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
(+)
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Oper, Theater. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q17853. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> <br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages (German, English, French)<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> DAS RHEINGOLD<br> <br> "This piano score has been compiled on the basis of the edition of Rheingold in the critical complete edition of the musical works of Richard Wagner (Richard Wagner, Samtliche Werke, Vol. 10, I-II, edited by Egon Voss, Mainz 1988f.). The primary source for the edition of Rheingold in the complete edition was the first print of the score (E) which was published by Schott's Sohne, Mainz in 1873. Unfortunately, the source which would have been of greatest significance for revision purposes could not be utilised in the preparation of this edition. Wagner's autograph fair copy of the score which was included in Ludwig II's estate fell into the hands of Adolf Hitler in 1939 and has never been seen again since 1945. For this reason, it was necessary to make frequent reference to both the so-called compositional sketch (KS) and the first draft of the score (PE). For any questionable interpretations of E in the principle text, the variants in KS and PE have been added in small print or footnotes. This also applies to additional markings and alterations undertaken by Wagner during rehearsals for the first performances in 1876 which were recorded by his assistants, principally by Heinrich Porges. These variants are marked with the sign [1876]. Remarks in quotation marks reproduce Wagner's original comments. At certain points, reference has also been made to the records by Felix Mottl who was also present at the rehearsals and performances in 1876. Further relevant information can be found in the volumes of the complete edition." (Egon Voss, quoted from the foreword of the new Rheingold vocal score. translation by Lindsay Chalmers-Gerbracht)
$47.99
43.47 €
#
Piano, Voice
#
Richard Wagner (1813-1883)
#
Das Rheingold
#
Schott Music - Digital
#
SheetMusicPlus
Give Thanks to the Lord
Choral
By Mark Barnard. Arranged by Bryan Verhoye. For Two-part Any Combination of Voices, Option…
(+)
By Mark Barnard. Arranged by Bryan Verhoye. For Two-part Any Combination of Voices, Optional Congregation. Sacred Anthem. Choir and Congregation Series. Eastertide. Easy. Published by Unity Music Press
$2.40
2.17 €
#
Choral
#
Mark Barnard
#
Give Thanks to the Lord
#
Unity Music Press
#
SheetMusicPlus
Die Walkure
Piano, Voice
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
(+)
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)
$53.99
48.91 €
#
Piano, Voice
#
Richard Wagner (1813-1883)
#
Die Walkure
#
Schott Music - Digital
#
SheetMusicPlus
Give Me Jesus
High voice
High voice and piano - Moderately Easy - Digital Download SKU: MQ.41-105-E Composed…
(+)
High voice and piano - Moderately Easy - Digital Download SKU: MQ.41-105-E Composed by Tom Trenney. Funeral. 5 pages. MorningStar Music Publishers - Digital Sheet Music #41-105-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.41-105-E). English.
$7.75
7.02 €
#
High voice
#
Tom Trenney
#
Give Me Jesus
#
MorningStar Music Publishers - Digital Sheet Music
#
SheetMusicPlus
Give Me Jesus
Medium voice, Piano
Medium voice and piano - Moderately Easy - Digital Download SKU: MQ.41-106-E Compos…
(+)
Medium voice and piano - Moderately Easy - Digital Download SKU: MQ.41-106-E Composed by Tom Trenney. Funeral. 5 pages. MorningStar Music Publishers - Digital Sheet Music #41-106-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.41-106-E). English.
$7.75
7.02 €
#
Medium voice, Piano
#
Tom Trenney
#
Give Me Jesus
#
MorningStar Music Publishers - Digital Sheet Music
#
SheetMusicPlus
Give You Back
Piano, Voice
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0004955 By Vertical Horizon. By…
(+)
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0004955 By Vertical Horizon. By Mathew Scannell. Pop/Rock. 6 pages. Alfred Music - Digital Sheet Music #00-PS-0004955. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0004955).
$3.99
3.61 €
#
Piano, Voice
#
Vertical Horizon
#
Give You Back
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Give In To Me
Piano, Voice
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0005874 By Michael Jackson. By …
(+)
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0005874 By Michael Jackson. By Bill Bottrell and Michael Jackson. Pop/Rock. 5 pages. Alfred Music - Digital Sheet Music #00-PS-0005874. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0005874).
$3.99
3.61 €
#
Piano, Voice
#
Michael Jackson
#
Give In To Me
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Acclamations For Handbells And Voices
Any combination of voices - Intermediate SKU: LO.S273 Composed by Hal H. Hopson. Ch…
(+)
Any combination of voices - Intermediate SKU: LO.S273 Composed by Hal H. Hopson. Choral. Sacred Anthem. Octavo. Sacred Music Press #S273. Published by Sacred Music Press (LO.S273). UPC: 000308016697.
Song List: VI. Sing for Joy XVI. Go Your Way Rejoicing XV. The Grace of Our Lord Jesus XIV. Whatsoever You Do XIII. Bow Down Thine Ear, O Lord XII. Lord, We Cry to Thee XI. Give Ear to Our Prayer, O God VII. This Is the Day VIII. Speak to One Another in Words Revealed X. Draw Near to God of Psalms IX. O Come and Worship the Lord IV. Seek the Lord III. Arise, Shine; For Your Light II. The Word Was Made Flesh I. The Glory of the Lord Shall Be Has Come Christ Be With You V. Hosanna to the Son of David
$3.60
3.26 €
#
Hal H
#
Acclamations For Handbells And Voices
#
Sacred Music Press
#
SheetMusicPlus
We're Forgiven (God of Grace)
Piano, Voice
Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.921766 Composed by Lisa Wait…
(+)
Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.921766 Composed by Lisa Waites. Christian,Christmas,Praise & Worship,Sacred. Score. 1 pages. Servant Song Music and Ministry #6617305. Published by Servant Song Music and Ministry (A0.921766). This short, accessible piece of worship music was written as a liturgical response for use during Christian services during the Advent/Christmas/Epiphany seasons of the church calendar. It returns the work of the people TO the people, placing these musical Words of Assurance into the mouths and hearts of the congregation and/or choir, rather than having the minister alone speaking the words of absolution/assurance after the Prayer of Confession. Set in a simple key for beginning accompanists and including chord charts for guitarists (or pianists who prefer to play by reading the melody notes in the RH and playing by chord symbol with their LH), this song has been set in a perfect vocal range for congregational voices and/or church choirs. Melody and harmony parts have been included in the score so that you can divide into soprano/alto parts if you'd like to, but the piece works equally well if you stick to the melody alone. Non-liturgical churches have also appreciated this piece as a way for congregants to respond musically to services on themes such as God's Grace, Forgiveness, Reconciliation, Prodigals, Mercy, and also throughout Advent or whenever the pastor is focusing on themes of Hope, Peace, Joy, Love, etc. Published by Servant Song Music & Ministry, this piece is hot off the press for use in Advent 2021, but watch for an SATB Choral version to follow at Sheet Music Plus in the next week or two! There is also a video available on YouTube at https://youtu.be/orgm6VuEJVo which you are free to use for digital or hybrid worship services. The lyrics are Closed Captioned, so your people can learn to sing the piece in rhythm with the piano accompaniment. .
$2.99
2.71 €
#
Piano, Voice
#
Lisa Waites
#
We're Forgiven
#
Servant Song Music and Ministry
#
SheetMusicPlus
The Mark Hayes Vocal Solo Collection -- 10 Spirituals for Solo Voice
Medium voice, Piano
Voice (Low/Medium Low) - Digital Download For Concerts, Contests, Recitals, and Worsh…
(+)
Voice (Low/Medium Low) - Digital Download For Concerts, Contests, Recitals, and Worship (Medium Low Voice). Arranged by Mark Hayes. Series; Vocal Collection. The Mark Hayes Vocal Solo Collection. Sacred; Spiritual. Book. 66 pages. Jubilate Music Group - Digital #00-17959. Published by Jubilate Music Group - Digital
Award-winning composer, arranger, pianist and recording artist Mark Hayes has crafted a superb anthology of ten traditional spirituals for vocal soloist with piano accompaniment in true art-song style, ideal for school or church singers. Titles: Deep River * Go, Tell it on the Mountain * Steal Away to Heaven * I Feel the Spirit Moving * There is a Balm in Gilead * Behold the Star! * My Lord, What a Morning * The Gospel of Grace * Give Me Jesus * Joshua Fit the Battle of Jericho.
$15.99
14.49 €
#
Medium voice, Piano
#
Vocal Collection
#
The Mark Hayes Vocal Solo Collection -- 10 Spirituals for Solo Voice
#
SheetMusicPlus
The Mark Hayes Vocal Solo Collection -- 10 Spirituals for Solo Voice
Piano, Voice
Voice (High/Medium High) - Digital Download For Concerts, Contests, Recitals, and Wor…
(+)
Voice (High/Medium High) - Digital Download For Concerts, Contests, Recitals, and Worship (Medium High Voice). Arranged by Mark Hayes. Series; Vocal Collection. The Mark Hayes Vocal Solo Collection. Sacred; Spiritual. Book. 66 pages. Jubilate Music Group - Digital #00-17954. Published by Jubilate Music Group - Digital
English.<br> <br> Award-winning composer, arranger, pianist and recording artist Mark Hayes has crafted a superb anthology of ten traditional spirituals for vocal soloist with piano accompaniment in true art-song style, ideal for school or church singers. Titles: Deep River * Go, Tell it on the Mountain * Steal Away to Heaven * I Feel the Spirit Moving * There is a Balm in Gilead * Behold the Star! * My Lord, What a Morning * The Gospel of Grace * Give Me Jesus * Joshua Fit the Battle of Jericho.
$15.99
14.49 €
#
Piano, Voice
#
Vocal Collection
#
The Mark Hayes Vocal Solo Collection -- 10 Spirituals for Solo Voice
#
SheetMusicPlus
Forgiven. A Pathetic Ballad
Piano, Voice
Piano and voice - Digital Download SKU: LV.4759 Composed by Alex Comstock. Portrait…
(+)
Piano and voice - Digital Download SKU: LV.4759 Composed by Alex Comstock. Portraits, Ethnic groups, Shipwrecks, Rescues, Children, Daggers & knives, Mandolins, Couples, Anger, Fear, Courtship, Love, Distress. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4759). Forgiven. A Pathetic Ballad. Written and Composed by Alex Comstock. Published 1886 by T.B. Harms & Co., 819 Broadway in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Ethnic groups, Shipwrecks, Rescues, Children, Daggers & knives, Mandolins, Couples, Anger, Fear, Courtship, Love, Distress. First line reads Oh, give me back your love once more, and hush the anguish of my heart.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.43 €
#
Piano, Voice
#
Alex Comstock
#
Forgiven. A Pathetic Ballad
#
Johns Hopkins University Sheridan Libraries
#
SheetMusicPlus
Goetterdaemmerung
Piano, Voice
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
(+)
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Richard Wagner. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q17774. Published by Schott Music - Digital
German.<br> <br> An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages (German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. GÖTTERDÄMMERUNG This piano reduction corresponds to the edition of the score of Götterdämmerung contained in the complete critical edition of the musical works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 13, I-III, edited by Hartmut Fladt, Mainz 1980ff. [Richard Wagner, Complete Works]). The first printed edition of the score was published by B. Schott’s Söhne, Mainz (plate number 21953) in the summer of 1876, but was supervised by the conductor Hermann Levi and not by Wagner himself. This edition displays deviations from the autograph which cannot be considered as adhering to Wagner’s intentions. For this reason, the critical edition is largely based on Wagner’s autograph score. Individual changes made during the first performances of the work in Bayreuth in 1876 have been identified in the footnotes.<br> <br> 2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Tristan und Isolde Die Meistersinger von Nürnberg Parsifal<br> <br> Picc. · 3 · 3 · Engl. Hr. · 3 · Bassklar. · 3 - 8 (5. u. 7. auch Tenortb., 6. u. 8. auch Basstb.) · 3 · Basstrp. · 4 (4. auch Kb.-Pos.) · Kbtb. - P. S. (Glsp. · Trgl. · Beckenpaar · Tamt. · Rührtr.) (2 Spieler) - 6 Hfn. - Str. (16 · 16 · 12 · 12 · 8)<br> Auf der Bühne: Horn in f - Hörner in C - Stierhörner in C, Des und D - 4 Hfn.
$47.99
43.47 €
#
Piano, Voice
#
Richard Wagner (1813-1883)
#
Goetterdaemmerung
#
Schott Music - Digital
#
SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.73 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Give My regards to Broadway - Piano & Vocal
Piano, Voice
Piano,Vocal,Voice - Digital Download SKU: A0.934766 Composed by G Cohan. Arranged b…
(+)
Piano,Vocal,Voice - Digital Download SKU: A0.934766 Composed by G Cohan. Arranged by James Cox. Broadway,Film/TV,Musical/Show. Score. 4 pages. James Cox #4268841. Published by James Cox (A0.934766). Title:   Give My Regards to BroadwayDuration: 2 and a half minutes This arrangement provides a fantastic arrangement of Give My Regards to Broadway for Piano & Vocal. Facebook: https://www.facebook.com/jamescoxmusicWebsite: https://www.jamescoxmusic.co.uk/ .
$4.99
4.52 €
#
Piano, Voice
#
G Cohan
#
Vocal.
#
Give My regards to Broadway - Piano & Vocal
#
James Cox
#
SheetMusicPlus
Give Me Your Tired, Your Poor
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1084955 Composed by Emma Laz…
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1084955 Composed by Emma Lazarus and Irving Berlin. Arranged by Charles A. Gravenhorst. Broadway,Holiday,Musical/Show,Patriotic,Standards. Score. 3 pages. CG Publications #689074. Published by CG Publications (A0.1084955). Irving Berlin’s moving and lyrical composition, based on the hopeful and compassionate poetry of Emma Lazarus, is carefully arranged for well-supporting Keyboard Accompaniment playable by pianists of even the most modest skills. This beautiful and patriotic anthem fully expresses the essence of the American experience and, although not as well-known as Berlin’s “God Bless America,†is equally powerful and delightfully singable. Very effective for Unison Chorus of Men, or Unison Mixed Voices. An arrangement for TTBB Voices with Tenor Solo (with this same accompaniment) is also available [https://www.sheetmusicplus.com/title/give-me-your-tired-your-poor-digital-sheet-music/22349018; https://www.sheetmusicdirect.com/en-US/se/ID_No/1200254/Product.aspx].
$5.99
5.43 €
#
Piano, Voice
#
Emma Lazarus and Irving Berlin
#
Give Me Your Tired, Your Poor
#
CG Publications
#
SheetMusicPlus
Give Me Music!
Choral SATB
SATB choir divisi and Piano - Digital Download SKU: LX.15-2998H Composed by Amy F B…
(+)
SATB choir divisi and Piano - Digital Download SKU: LX.15-2998H Composed by Amy F Bernon. Prima Cantate Series. Concert. Octavo. 20 pages. Heritage Music Press #e15/2998H. Published by Heritage Music Press (LX.15-2998H). ISBN 9781429131964. Text: Richard Watson Gilder.A festive celebration of the transcendent power of music to make life whole and meaningful, this unusual, lesser-known text is given a fresh treatment through Amy's unique compositional voice. Give me Music is an excellent choice for concert or contests.
$2.95
2.67 €
#
Choral SATB
#
Amy F Bernon
#
Give Me Music!
#
Heritage Music Press
#
SheetMusicPlus
Beethoven-Dona nobis pacem(Give me peace),Anh.57,in C Major,fugue for 4 Voices
Voice solo
Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.674403 Composed by Ludwig van…
(+)
Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.674403 Composed by Ludwig van Beethoven. Arranged by MSM. Classical,Romantic Period. 6 pages. Open Cloud #6087469. Published by Open Cloud (A0.674403). This product is a digital sheet music in PDF format. The music was composed by Beethoven (Ludwig van Beethoven), 1770-1827, for 4 Voices, published by More Sheet Music Press.
$4.99
4.52 €
#
Voice solo
#
Ludwig van Beethoven
#
Beethoven-Dona nobis pacem(Give me peace),Anh.57,in C Major,fugue for 4 Voices
#
Open Cloud
#
SheetMusicPlus
I Won't Give Up
Piano, Voice
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.518523 By Jason Mraz. By Jas…
(+)
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.518523 By Jason Mraz. By Jason Mraz and Michael Natter. Arranged by Scott Harris. Contemporary,Pop,Wedding. Score. 9 pages. Scott Harris Music #129226. Published by Scott Harris Music (A0.518523). Key of Bb, but stays true to the original recording in style and feel. For one solo vocalist or perfect for a male/female duet in this key! Performance time: approx. 4:00 For comments, questions, or special requests, please email me at scott@scottharrismusic.com or visit my website at www.ScottHarrisMusic.com.
$4.99
4.52 €
#
Piano, Voice
#
Jason Mraz
#
I Won't Give Up
#
Scott Harris Music
#
SheetMusicPlus
What Can I Give Her? / What Can I Give Him?
Piano, Voice
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.618551 Composed by Stephen D…
(+)
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.618551 Composed by Stephen DeCesare. Broadway,Children,Christmas,Film/TV,Musical/Show. Score. 14 pages. Exultet Music #12061. Published by Exultet Music (A0.618551). Featured in The Gift of the Magi: the musical which is available on this site. Scored for Vocals and Piano. An accompaniment and rehearsal tracks are also available.
$3.99
3.61 €
#
Piano, Voice
#
Stephen DeCesare
#
What Can I Give Her? / What Can I Give Him?
#
Exultet Music
#
SheetMusicPlus
May You Always Be Joyful - (Voice & piano version)
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1471108 Composed by Robert A…
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1471108 Composed by Robert A. Howard. 20th Century,Chamber,Christian,Contemporary,Sacred. Score. 8 pages. Robert A. Howard #1048747. Published by Robert A. Howard (A0.1471108). 'May You Always Be Joyful' sets a biblical text from the New Testament (Philippians 4:4-9, in the New International Version). This setting is presented here in a version for solo mezzo-soprano voice and piano. The piece aims to give appropriate musicial expression to the text. Several key ideas, motifs and chords recur, and are juxtaposed in a mosaic-like manner. The piece focuses on harmonies with added augmented fourths, reminiscent of Messiaen, in an attempt to express joy or even ecstasy. The influence of Berio (Folksongs) can be seen in the doubling, colouring, and sustaining of the vocal line by the piano, creating an 'accidental' form of harmony, as well as supporting the singer. The piece is appropriate for most standards of singer and pianist. The original version of this work, for solo mezzo soprano, wind quintet and piano, is also available from Sheet Music Plus.Duration: 5 minutes.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$4.49
4.07 €
#
Piano, Voice
#
Robert A
#
May You Always Be Joyful -
#
Robert A. Howard
#
SheetMusicPlus
The Master Singers of Nuremberg
Piano, Voice
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erst…
(+)
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 235\' 0. Schott Music - Digital #Q17852. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).
$59.99
54.34 €
#
Piano, Voice
#
Richard Wagner
#
The Master Singers of Nuremberg
#
SheetMusicPlus
<
1
26
51
....
2651
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version
