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9976
"Tumbleweed" - (Part Scores)
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859710 Composed by Sydne…
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859710 Composed by Sydney Stevens. Children,Country,Folk,New Age. 31 pages. Sydney Stevens, Water Music #5954113. Published by Sydney Stevens, Water Music (A0.859710). Contact: sydneystevenspianostudio@gmail.comTumbleweed: Gentle folk-based piano/vocal by Sydney Stevens (ASCAP). Arrangement is for piano/vocal/chords/Vln I, II. Full score and part scores included with download.Sounds like: Dar Williams, Rose Polenzani, Christina PerriFrom Album: Cycles of Life Theme: I am a tumbleweed tumbling todayMood: Gentle, warm, emotional, comforting, innocent.Musical Traits: Simple, broken chords in the left hand piano along with right hand melody that reflects the vocal line.Performance Time: 3:17Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links:www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY: Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter. Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific composer, Stevens runs a b.
$9.95
9.1 €
#
Sydney Stevens
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"Tumbleweed" -
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Sydney Stevens, Water Music
#
SheetMusicPlus
Eric Whitacre's The Beautiful Mess (K-12 - up to 100 students)
Musical course - Solfege
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whit…
(+)
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whitacre's Virtual School. This comprehensive course offers deep insight into the creative process, providing both video and PDF materials that are ideal for both individual and classroom instruction. Classroom resource. Virtual masterclass license. 3 pages. Hal Leonard #393438. Published by Hal Leonard
The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.
$950.00
869.17 €
#
Musical course - Solfege
#
Eric Whitacre
#
Eric Whitacre's The Beautiful Mess
#
Hal Leonard
#
SheetMusicPlus
Eric Whitacre's The Beautiful Mess (K-12 - up to 20 students)
Musical course - Solfege
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whit…
(+)
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whitacre's Virtual School. This comprehensive course offers deep insight into the creative process, providing both video and PDF materials that are ideal for both individual and classroom instruction. Classroom resource. Virtual masterclass license. 3 pages. Hal Leonard #393436. Published by Hal Leonard
The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.
$250.00
228.73 €
#
Musical course - Solfege
#
Eric Whitacre
#
Eric Whitacre's The Beautiful Mess
#
Hal Leonard
#
SheetMusicPlus
Eric Whitacre's The Beautiful Mess (K-12 - up to 200 students)
Musical course - Solfege
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whit…
(+)
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whitacre's Virtual School. This comprehensive course offers deep insight into the creative process, providing both video and PDF materials that are ideal for both individual and classroom instruction. Classroom resource. Virtual masterclass license. 3 pages. Hal Leonard #393439. Published by Hal Leonard
The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.
$999.99
914.9 €
#
Musical course - Solfege
#
Eric Whitacre
#
Eric Whitacre's The Beautiful Mess
#
Hal Leonard
#
SheetMusicPlus
Eric Whitacre's The Beautiful Mess (Higher Education - 10 licenses)
Musical course - Solfege
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whit…
(+)
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whitacre's Virtual School. This comprehensive course offers deep insight into the creative process, providing both video and PDF materials that are ideal for both individual and classroom instruction. Classroom resource. Virtual masterclass license. 3 pages. Hal Leonard #393441. Published by Hal Leonard
The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.
$999.99
914.9 €
#
Musical course - Solfege
#
Eric Whitacre
#
Eric Whitacre's The Beautiful Mess
#
Hal Leonard
#
SheetMusicPlus
Eric Whitacre's The Beautiful Mess (K-12 - up to 50 students)
Musical course - Solfege
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whit…
(+)
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whitacre's Virtual School. This comprehensive course offers deep insight into the creative process, providing both video and PDF materials that are ideal for both individual and classroom instruction. Classroom resource. Virtual masterclass license. 3 pages. Hal Leonard #393437. Published by Hal Leonard
The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.
$595.00
544.37 €
#
Musical course - Solfege
#
Eric Whitacre
#
Eric Whitacre's The Beautiful Mess
#
Hal Leonard
#
SheetMusicPlus
Eric Whitacre's The Beautiful Mess (Higher Education - 15 licenses)
Musical course - Solfege
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whit…
(+)
Masterclass in Composition and Creativity. Composed by Eric Whitacre (1970-). Eric Whitacre's Virtual School. This comprehensive course offers deep insight into the creative process, providing both video and PDF materials that are ideal for both individual and classroom instruction. Classroom resource. Virtual masterclass license. 3 pages. Hal Leonard #393442. Published by Hal Leonard
The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.
$999.99
914.9 €
#
Musical course - Solfege
#
Eric Whitacre
#
Eric Whitacre's The Beautiful Mess
#
Hal Leonard
#
SheetMusicPlus
Die Walkure
Piano, Voice
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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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
49.4 €
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Piano, Voice
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Richard Wagner (1813-1883)
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Die Walkure
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Schott Music - Digital
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SheetMusicPlus
She'll be Coming Round the Mountain when she Comes - Piano Duet
1 Piano, 4 hands
Instrumental Duet Instrumental Duet,Piano - Level 1 - Digital Download SKU: A0.721379
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Instrumental Duet Instrumental Duet,Piano - Level 1 - Digital Download SKU: A0.721379 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Concert,Sacred. Score and parts. 3 pages. Music-Scores.com #4594643. Published by Music-Scores.com (A0.721379). She'll be Coming Round the Mountain is derived from an African American Spiritual called When the Chariot Comes. The secular version was sung by the workers whilst building the Midwest railroad.For easy Piano Duet, with words.Arranged by Anne Christopherson at www.music-scores.com
$3.95
3.61 €
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1 Piano, 4 hands
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Traditional
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She'll be Coming Round the Mountain when she Comes - Piano Duet
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Music-Scores.com
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.64 €
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Piano solo
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.64 €
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Piano solo
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
Silent Frights: A collection of music to accompany silent film scenes
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1453661 Composed by Gaston Borc…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1453661 Composed by Gaston Borch. Arranged by W.C. Rohl. Classical,Film/TV,Halloween,Historic,Thriller. 170 pages. RēsFacta Editions #1032875. Published by RēsFacta Editions (A0.1453661). A collection of five pieces for orchestra by French composer, Gaston Borch (1871-1926) written to accompany creepy, suspenseful, mysterious, and supernatural scenes for silent films. A prolific composer, cellist, conductor, and arranger, Borch moved to the United States in the early 1900s where he significantly contributed to the American musical landscape. He became particularly known for his work in the burgeoning field of silent film music, composing scores that enhanced the emotional impact of films. Borch’s music was characterized by its melodic richness and dramatic expressiveness, which made it ideal for the cinema. His ability to craft music that perfectly matched the narrative and emotional arcs of films made him a sought-after composer in the industry. The entire collection - or any number of the individual selections - would make an ideal addition to any Halloween-themed program. Score and parts. Also available for string orchestra. resfactamusic.com
$90.00
82.34 €
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Orchestra
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Gaston Borch
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Silent Frights: A collection of music to accompany silent film scenes
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RēsFacta Editions
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SheetMusicPlus
Silent Frights: A collection of music to accompany silent film scenes
String Orchestra - Level 5 - Digital Download SKU: A0.1455420 Composed by Gaston Bo…
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String Orchestra - Level 5 - Digital Download SKU: A0.1455420 Composed by Gaston Borch. Arranged by W.C. Rohl. Classical,Film/TV,Halloween,Historic,Thriller. 84 pages. RēsFacta Editions #1034512. Published by RēsFacta Editions (A0.1455420). A collection of five pieces for orchestra by French composer, Gaston Borch (1871-1926) written to accompany creepy, suspenseful, mysterious, and supernatural scenes for silent films. A prolific composer, cellist, conductor, and arranger, Borch moved to the United States in the early 1900s where he significantly contributed to the American musical landscape. He became particularly known for his work in the burgeoning field of silent film music, composing scores that enhanced the emotional impact of films. Borch’s music was characterized by its melodic richness and dramatic expressiveness, which made it ideal for the cinema. His ability to craft music that perfectly matched the narrative and emotional arcs of films made him a sought-after composer in the industry. The entire collection - or any number of the individual selections - would make an ideal addition to any Halloween-themed program. Score and parts. Also available for full orchestra. resfactamusic.com
$55.00
50.32 €
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Gaston Borch
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Silent Frights: A collection of music to accompany silent film scenes
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RēsFacta Editions
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SheetMusicPlus
Das Rheingold
Piano, Voice
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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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
43.91 €
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Piano, Voice
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Richard Wagner (1813-1883)
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Das Rheingold
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Schott Music - Digital
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SheetMusicPlus
Requiem
Chamber Orchestra
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
51.23 €
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Minuet from Guido di Musica - French Horn and Piano
French Horn and Piano
French Horn,Piano - Level 3 - Digital Download SKU: A0.721305 Composed by James Hoo…
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French Horn,Piano - Level 3 - Digital Download SKU: A0.721305 Composed by James Hook. Arranged by Anne L Christopherson GRSM ARCM. Concert,Contemporary,Wedding. Score and part. 3 pages. Music-Scores.com #4310039. Published by Music-Scores.com (A0.721305). This Minuet is originally from the 4th lesson of Guido di Musica for piano. Attention should be paid to phrasing marks.This is for French Horn and Piano.Arranged by Anne Christopherson GRSM ARCM at https://www.music-scores.com
$6.95
6.36 €
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French Horn and Piano
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James Hook
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Minuet from Guido di Musica - French Horn and Piano
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Music-Scores.com
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SheetMusicPlus
Minuet from Guido di Musica - Trumpet and Piano
Trumpet, Piano
Piano,Trumpet - Level 3 - Digital Download SKU: A0.721939 Composed by Hook (James).…
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Piano,Trumpet - Level 3 - Digital Download SKU: A0.721939 Composed by Hook (James). Arranged by Anne Christopherson GRSM ARCM. Concert,Contemporary,Wedding. Score and part. 3 pages. Music-Scores.com #5312555. Published by Music-Scores.com (A0.721939). This Minuet is originally from the 4th lesson of Guido di Musica for piano. Attention should be paid to phrasing marks.This is for Trumpet and Piano.Arranged by Anne Christopherson GRSM ARCM at https://www.music-scores.com.
$6.95
6.36 €
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Trumpet, Piano
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Hook
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Minuet from Guido di Musica - Trumpet and Piano
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Music-Scores.com
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SheetMusicPlus
Minuet from Guido di Musica - Violin and Cello
Violin, Cello (duet)
Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.7…
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Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.721940 Composed by Hook (James). Arranged by Anne Christopherson GRSM ARCM. Concert,Contemporary,Wedding. Score and parts. 3 pages. Music-Scores.com #5312557. Published by Music-Scores.com (A0.721940). This Minuet is originally from the 4th lesson of Guido di Musica for piano. Attention should be paid to phrasing marks.This is for Violin and Cello.Arranged by Anne Christopherson GRSM ARCM at https://www.music-scores.com
$6.95
6.36 €
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Violin, Cello (duet)
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Hook
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Minuet from Guido di Musica - Violin and Cello
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Music-Scores.com
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SheetMusicPlus
Minuet from Guido di Musica -String Trio
String Trio: violin, viola, cello
String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.721…
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String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.721938 Composed by Hook (James). Arranged by Anne Christopherson GRSM ARCM. Concert,Contemporary,Wedding. Score and parts. 6 pages. Music-Scores.com #5307493. Published by Music-Scores.com (A0.721938). This Minuet is originally from the 4th lesson of Guido di Musica for piano. Attention should be paid to phrasing marks.This is for Violin, Viola and Cello (The Viola can be replaced by a 2nd Violin)Duration: Approx 4 minutes.Arranged by Anne Christopherson GRSM ARCM at https://www.music-scores.com
$6.95
6.36 €
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String Trio: violin, viola, cello
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Hook
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Minuet from Guido di Musica -String Trio
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Music-Scores.com
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SheetMusicPlus
Christmas is Coming, the Goose is Getting Fat
Choral SATB
Choral Choir (Mixed) - Level 2 - Digital Download SKU: A0.721789 Composed by Tradit…
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Choral Choir (Mixed) - Level 2 - Digital Download SKU: A0.721789 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christian,Christmas,Concert,Sacred. Octavo. 5 pages. Music-Scores.com #5001981. Published by Music-Scores.com (A0.721789). Christmas is Coming, the Goose is Getting Fat, an old English nursery rhyme. There are several known versions, and here we give 3 of them. Two are suitable to be sung as a round.Arranged by Anne Christopherson GRSM ARCM at https://www.music-scores.com
$4.95
4.53 €
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Choral SATB
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Traditional
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Christmas is Coming, the Goose is Getting Fat
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Music-Scores.com
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SheetMusicPlus
When Christmas Comes to Town (from The Polar Express)
Choral 2-part
Chorus - Digital Download SKU: AX.00-PO-0002581 When Christmas Comes to Town (fr…
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Chorus - Digital Download SKU: AX.00-PO-0002581 When Christmas Comes to Town (from The Polar Express) - 2-Part. Composed by Alan Silvestri and Glen Ballard. Arranged by Alan Billingsley. Choral. 13 pages. Alfred Music - Digital Sheet Music #00-PO-0002581. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002581). UPC: 654979097297.The animated film The Polar Express was released just in time for the 2004 holiday season. It featured one of the most enjoyable and varied musical scores of any recent movie release. The story within the movie is truly an affirmation of the spirit of human kindness and the spirit of giving. It reminds us to keep the spirit of the holidays with us all year round, no matter what holiday we celebrate. Alan Billingsley has captured all the beauty of the original movie score in this delightful choral setting.
$2.25
2.06 €
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Choral 2-part
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Alan Silvestri and Glen Ballard
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When Christmas Comes to Town
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
48 Studies
Clarinet
Clarinet - intermediate - Digital Download Composed by Alfred Uhl (1909- 1992). This e…
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Clarinet - intermediate - Digital Download Composed by Alfred Uhl (1909- 1992). This edition: Sheet music. Essential Exercises. Downloadable. Schott Music - Digital #Q23942. Published by Schott Music - Digital
The Austrian clarinettist and composer Alfred Uhl (1909-92), born and trained in Vienna, has gained an international reputation for his film music scores, orchestral and chamber music works. His works move in a tonal framework, combining a differentiated rhythm and catchy melody. Thus, Uhl developed his own personal humorous style which he also realized in his studies. His study cycle is a standard work of teaching literature for clarinet. Almost every aspect of clarinet playing technique is .covered in Uhl's study work. Apart from the technical educational goal, the musical content gets its fair share too: each study work is a little character piece which helps the clarinettist to effectively express his musical imagination independently of technical obstacles. A new edition in one volume with practising tips by Prof. Reiner Wehle.
$18.99
17.37 €
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Clarinet
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Alfred Uhl
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48 Studies
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Schott Music - Digital
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SheetMusicPlus
O come, O come Emmanuel - Voice, Piano
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.722472 Composed by Tradition…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.722472 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christian,Christmas,Praise & Worship,Sacred. Score. 3 pages. Music-Scores.com #6643355. Published by Music-Scores.com (A0.722472). O come, O come Emmanuel: this is from the 13th century or even earlier, and is of french origin. A simple arrangement for Voice and Piano or Organ.Arranged by Anne L Christopherson GRSM ARCM at www.music-scores.com
$2.95
2.7 €
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Piano, Voice
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Traditional
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O come, O come Emmanuel - Voice, Piano
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Music-Scores.com
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SheetMusicPlus
The Vampire: A Dramatic Theme
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.914739 Composed by Sol Paul Levy (…
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Solo Guitar - Level 4 - Digital Download SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 pages. Eric J Roth #4593125. Published by Eric J Roth (A0.914739). 6 pages (2 pages of music) formatted for 8.5x11 printing.Sol Paul Levy, born in Chicago, Illinois in 1881, was a composer, arranger and performer of silent film music. He attended All Hallows College in Dublin, Ireland and served as first clarinetist in bands led by John Philip Sousa and Arthur Pryor. Levy led the foreign orchestrating department for Victor Records – which was the first music company to produce the disc record – and was a founder of Belwin Music. Levy compiled a series of photoplay cues for piano that was published in H.S. Gordon’s 1914 Motion Picture Collection. He also wrote songs, the most famous of which was That Naughty Waltz. Sol Paul Levy died in New York in 1920. During the Silent Film Era (1896-1936), showings usually featured live music, which helped to provide dramatic and emotional cues for the audience. The first public silent film shown in 1895 was accompanied by a guitarist. Soon after, films were commonly accompanied by either a pianist, organist, or chamber orchestra. Accompanists often improvised or compiled music from the classical, theatrical or popular repertories using a cue sheet identifying the effects or moods to be conveyed. While some films produced full scores or detailed cue sheets containing excerpts of music unique to that film, a repertoire of generic music soon developed to provide accompanists with music that they could adapt as needed. With titles such as Dramatic Conflict, Dramatic Tension, Heavy Mysterioso, and Weird Oriental Theme, Sol Paul Levy’s scores clearly served this purpose. The Vampire: A Dramatic Theme, composed in 1917, could have been easily adapted to any of the more than twenty films about vampires that appeared between 1909 and 1930. The score exists in three versions: one for small orchestra with piano conductor, one for chamber orchestra without piano, and one for chamber orchestra without timpani. Instruments included piano, flute, clarinet, two cornets, trombone, two timpani, two violins, viola, cello, and bass. Despite being composed for small orchestra, the piece, composed in A minor, is well suited to the guitar once instrumental and octave doublings are removed. While a solo guitar cannot produce the power and volume of a chamber orchestra, it certainly can evoke the intended mood. Except in a few instances owing to the limitations of the guitar, all original dynamic markings have been retained. All fingerings, of course, are editorial. Please note that some of the fingerings in the score may differ than those used in the linked YouTube Video.
$3.99
3.65 €
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Guitar
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Sol Paul Levy
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The Vampire: A Dramatic Theme
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Eric J Roth
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SheetMusicPlus
I Saw Three Ships Come Sailing In - Version 2 - Voice and Piano
Piano, Voice
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.721172 Composed by Tradition…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.721172 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred. Score. 1 pages. Music-Scores.com #3913485. Published by Music-Scores.com (A0.721172). I Saw Three Ships Come Sailing In, Version 2. The three ships could represent the wise men, or the shepherds, or gold, frankincense and myrrh, or even 3 camels. There is no sea near Bethlehem.For Voice and Piano.Arranged by Anne L Christopherson GRSM ARCM at www.music-scores.com
$2.95
2.7 €
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Piano, Voice
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Traditional
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I Saw Three Ships Come Sailing In - Version 2 - Voice and Piano
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Music-Scores.com
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SheetMusicPlus
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