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You've selected:
Strings All Around: 2nd Violin
Sheetmusic to print
7 sheet music found
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1
Strings All Around: 2nd Violin
Violin (band part)
String Orchestra - Digital Download SKU: AX.00-PC-0015948_VN2 2nd Violin. Ar…
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String Orchestra - Digital Download SKU: AX.00-PC-0015948_VN2 2nd Violin. Arranged by Andrew H. Dabczynski. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015948_VN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015948_VN2). UPC: 038081453354.A light-hearted piece for introducing, recruiting, or simply featuring string players, every section is highlighted---even the second violins! This arrangement of an old favorite Austrian round is perfect for students within their first two years of study. Reproducible optional music pages allow for a sing-along with the audience or a choir. For the perfect exordium (introduction), Strings All Around is the right selection!
$5.99
5.59 €
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Violin (band part)
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Strings All Around: 2nd Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Don't Get Around Much Anymore: 2nd Violin
String Orchestra - Digital Download SKU: AX.00-PC-0001782_VN2 2nd Violin. Co…
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String Orchestra - Digital Download SKU: AX.00-PC-0001782_VN2 2nd Violin. Composed by Bob Russell and Duke Ellington. Arranged by Robert Gardner. Instructional. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0001782_VN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001782_VN2). UPC: 038081353425.Big band jazz translates very well for strings and this cool arrangement stays true to the style of the original. Most sections share the melody, with the others playing the famous call-and-response accompaniment, and all but the cellos remain in first position. Two solos are written out for each instrument, with chord changes and back-up parts provided to allow students to create their own solos, encouraging improvisation. Your students will enjoy performing this authentic and accessible arrangement of Ellington's classic tune, and it would make an upbeat and distinctive addition to any concert program.
$5.99
5.59 €
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Bob Russell and Duke Ellington
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Don't Get Around Much Anymore: 2nd Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Bella Bocca Polka: 2nd Violin
String Orchestra
String Orchestra - Digital Download SKU: AX.00-PC-0017349_VN2 2nd Violin. Co…
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String Orchestra - Digital Download SKU: AX.00-PC-0017349_VN2 2nd Violin. Composed by Émile Waldteufel. Arranged by Bob Phillips. Masterwork Arrangement. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017349_VN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017349_VN2). UPC: 038081519654.This charming piece is a perfect choice for a first festival experience and will help any group sound more mature. Written by A%0mil Waldteufel and arranged by Bob Phillips, the melody moves around to all sections in this setting. Written in first position in the keys of G and D, it is a great piece to work on lo and hi 2s in the upper strings as well as stopped bows in the entire string section. All rhythms are very easy, using mostly quarters and paired eighths. (2:40)Concert/Contest; Festival.
$5.99
5.59 €
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String Orchestra
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Ãâ°mile Waldteufel
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Festival.
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Bella Bocca Polka: 2nd Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Land of the Silver Birch: 2nd Violin
String Orchestra
String Orchestra - Digital Download SKU: AX.00-PC-0016386_VN2 2nd Violin. Ar…
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String Orchestra - Digital Download SKU: AX.00-PC-0016386_VN2 2nd Violin. Arranged by Vince Gassi. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016386_VN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016386_VN2). UPC: 038081480879.For a special touch at your next concert, feature one of Canada's most popular folk songs. Often sung to keep time while canoeing or around campfires, the lyrics are originally from a 19th century poem by First Nations poet Pauline Johnson, making this perfect for cross-cultural study. Although this work can easily be performed with strings alone, percussion instruments, including timpani and bells, expand the palette of colors, helping to create a rich tapestry for your listeners. (2:45) This title is available in SmartMusic.Concert/Contest; Festival.
$5.99
5.59 €
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String Orchestra
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Festival.
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Land of the Silver Birch: 2nd Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Danse Macabre for String Trio
String Trio: violin, viola, cello
String Ensemble,String Trio Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.715…
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String Ensemble,String Trio Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.715084 Composed by Camille Saint-Saens. Arranged by Jeremy Corcoran. Concert,Halloween,Romantic Period,World. Score and parts. 14 pages. LPC Publishers #6558667. Published by LPC Publishers (A0.715084). From the opening notes to the very last unison note, your students and audience, will be enthralled in this arrangement of Danse Macabre for String Trio . The melody dances around throughout the strings, giving each musician a chance to shine. Perfect for Halloween or just as a well known Classical piece. Includes 2nd Violin part that doubles Viola.
$9.00
8.4 €
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String Trio: violin, viola, cello
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Camille Saint-Saens
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Danse Macabre for String Trio
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LPC Publishers
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SheetMusicPlus
One Second to the Future - Guitar Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaill…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677. Published by Brent C Robitaille (A0.1412646). One Second to the Future (Guitar Orchestra) Composer: Brent Robitaille • “One Second to the Future” is a two-movement piece for either a single or optional double guitar orchestra with four separate parts for electric guitar and classical guitar. Two optional steel string guitar and electric bass parts are available but may be substituted if these instruments are unavailable. The total score will be around 500 measures with a running time of approximately 12-15 minutes. The piece is quite approachable for intermediate-level guitarists, with the more challenging sections arranged for the 1st and 2nd parts of the electric and classical guitar. Three overhead mics from the stage will be used to spatialize the sound into a stereo or surround sound system. • The first movement starts with a fixed audio shortwave recording from the Canadian time signal shortwave station CHU, gently fading in for approximately 20 seconds before the guitar orchestra begins with natural and artificial harmonics. • The second fixed audio track gently enters around the 1:00-minute mark. This track was recorded using eight amplified and non-amplified guitars in altered tunings with eight separate microphones to integrate into stereo or surround sound. The guitar's open strings were left to vibrate sympathetically as the volume increased and struck on the headstock with various rubber and metal sticks, violin bows or paint brushes to get the strings vibrating. The resulting wave files were then imported into a sampling program and filtered into the overtone series with “C” as the fundamental, emphasising the first 14 partials. This recording will be used intermittently throughout the first movement, acting primarily as a background pad. • At approximately 3:00 minutes into the first movement, the players are asked to use a glass or metal slide to tap out rhythms based on the international Morse code. Several other standard slide guitar techniques are also integrated into this section. See instructions in the score. The first movement ends with both fixed audio tracks fading away. • The second movement integrates a more traditional guitar playing and composition approach. Its bulk is at a robust tempo of 160 bpm and uses several rhythmic and timbral techniques, including sul tasto, sul ponticello, harmonics, golpe, string snaps, and the further use of guitar slides. • Midway through the second movement, a rallentando proceeds to a section indicated by the tempo mark “slow motion.” At this point, a third fixed audio recording of a single vibrating guitar string slowed down by 3000% will fade in. The orchestra is instructed to play with this recording in slow motion or approximately 30 bpm. See score for details. The orchestra eventually returns to the original tempo to finish the 2nd movement. Technical Requirements • Three mono or stereo mics from the orchestra will be required and blended with the stereo or surround sound. • A standard guitar delay and distortion pedal for electric guitar parts one and two is required. • Glass and metal guitar slides are required. To download the fixed audio tracks, go here: https://soundcloud.com/kalymi/sets/one-second-to-the-future-guitar-orchestra-fixed-audio-tracks For fixed audio track information and information, contact me at:info@brentrobitaille.com.
$75.00
69.98 €
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Brent C Robitaille
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One Second to the Future - Guitar Orchestra
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Brent C Robitaille
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SheetMusicPlus
Oscillation
Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.…
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Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1–3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartets’ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4–7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1–3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4–7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the work’s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10–13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second section’s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33–84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40–41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85–113 and is followed by a coda at mm.114–131.
$19.95
18.61 €
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contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key
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Jeremy Hart
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Oscillation
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Jeremy Graham Hart
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SheetMusicPlus
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