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The Scientist, for Piano, Violin
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The Scientist, for Piano, Violin (or Flute or Oboe), and Cello (or Bassoon) Trio
By Coldplay. Arranged by Ray Kamada. Score, Set of Parts. 14 pages. Published by The Lone …
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By Coldplay. Arranged by Ray Kamada. Score, Set of Parts. 14 pages. Published by The Lone Arranger (H0.203815-48477). - Score,Set of Parts - - The Lone Arranger
$12.99
12.12 €
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Coldplay
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The Scientist, for Piano, Violin
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The Lone Arranger
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SheetMusicPlus
I Come From Water--Piano/Vocal Score
Large Ensemble Bassoon,Cello,Clarinet,Flute,Low Voice,Medium Voice,Violin - Level 5 - Digi…
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Low Voice,Medium Voice,Violin - Level 5 - Digital Download SKU: A0.1023432 Composed by Theresa Koon. 20th Century,Contemporary. Score and parts. 14 pages. Theresa Koon #5722277. Published by Theresa Koon (A0.1023432). I Come from Water is a chamber work for Mezzo-soprano, Baritone, Alto Flute, Clarinet, Bassoon, Violin, Cello and, briefly, Bass Drum. The piece was inspired by news that the US may be planning to perform missile tests in the Pacific Ocean in the vicinity of the Hawaiian island of Kauai. Scientific research is leading to speculation that these tests could be harmful to water creatures over a large area surrounding the testing sites. In particular, scientists are concerned that the tests may cause animals who orient themselves via sound waves, such as dolphins and whales, to become permanently deaf.The music is intended to evoke impressions of a life in water, beginning with non-verbal communication between fish in streams. Images, sensations and sounds of water are expressed throughout the piece as salmon make their way from streams to rivers to the ocean. Eventually, we hear a sense of quiet communion in the ocean, which is interrupted by three explosions. The water creatures respond with panic, followed by silence. The final measures are intended to express grieving.
$4.99
4.65 €
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Theresa Koon
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I Come From Water--Piano/Vocal Score
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Theresa Koon
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SheetMusicPlus
The Scientist
Violin and Piano
Piano Quintet,String Ensemble Piano,Violin - Level 3 - Digital Download SKU: A0.809239
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Piano Quintet,String Ensemble Piano,Violin - Level 3 - Digital Download SKU: A0.809239 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Uesile Prado. Film/TV. Score and parts. 7 pages. BETSUEL UESILE DO PRADO #6404515. Published by BETSUEL UESILE DO PRADO (A0.809239). Arranged for Strings and Piano.
$19.99
18.65 €
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Violin and Piano
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Coldplay
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The Scientist
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BETSUEL UESILE DO PRADO
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SheetMusicPlus
The Scientist
Violin and Piano
Piano,Violin - Level 2 - Digital Download SKU: A0.819213 By Coldplay. By Chris Mart…
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Piano,Violin - Level 2 - Digital Download SKU: A0.819213 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by ACT Bortolucci. Film/TV. 4 pages. Nostalgic Scores #6317975. Published by Nostalgic Scores (A0.819213). Arrangement for violin and piano accompaniment.
$5.99
5.59 €
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Violin and Piano
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Coldplay
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The Scientist
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Nostalgic Scores
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SheetMusicPlus
The Scientist
Violin and Piano
Piano,Violin - Level 2 - Digital Download SKU: A0.818899 By Coldplay. By Chris Mart…
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Piano,Violin - Level 2 - Digital Download SKU: A0.818899 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by ACT Bortolucci. Film/TV. 5 pages. Nostalgic Scores #6090657. Published by Nostalgic Scores (A0.818899). Arrangement for solo violin and piano accompaniment.
$5.99
5.59 €
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Violin and Piano
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Coldplay
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The Scientist
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Nostalgic Scores
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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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
22.38 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
The Scientist
Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Violin - Level 3 - Digital Download
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Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Violin - Level 3 - Digital Download SKU: A0.735640 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Andrew Middleton. Rock. Score and parts. 7 pages. Andrew Middleton #5316555. Published by Andrew Middleton (A0.735640). From Coldplay's second album, A Rush of Blood to the Head, this arrangement of The Scientist has been made for solo violin and piano accompaniment. Ideal for the intermediate performer! This arrangement would also be suitable for oboe too!For more updates on new arrangements follow my Facebook page on https://www.facebook.com/a.middletonmusic/ Or subscribe to my Youtube page at https://www.youtube.com/channel/UCClIYqddA2wMpdaxSq3BKEw?view_as=subscriber
$4.99
4.65 €
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Coldplay
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The Scientist
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Andrew Middleton
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SheetMusicPlus
The Scientist
Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Violin - Level 3 - Digital Download
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Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Violin - Level 3 - Digital Download SKU: A0.735058 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Andrew Middleton. Rock. Score and parts. 5 pages. Andrew Middleton #3241515. Published by Andrew Middleton (A0.735058). From Coldplay's second album, A Rush of Blood to the Head, this arrangement of The Scientist has been made for solo oboe and piano accompaniment. Ideal for the intermediate performer! This arrangement would also be suitable for violin too!For more updates on new arrangements follow my Facebook page on https://www.facebook.com/a.middletonmusic/ Or subscribe to my Youtube page at https://www.youtube.com/channel/UCClIYqddA2wMpdaxSq3BKEw?view_as=subscriber
$4.99
4.65 €
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Coldplay
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The Scientist
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Andrew Middleton
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SheetMusicPlus
The Scientist
Small Ensemble Cello,Flute,Piano,Trumpet,Violin - Level 3 - Digital Download SKU: A0.68…
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Small Ensemble Cello,Flute,Piano,Trumpet,Violin - Level 3 - Digital Download SKU: A0.685497 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Fernando Britto. Contemporary,Film/TV,Pop,Wedding. Score and parts. 16 pages. Minhas Partituras #6371257. Published by Minhas Partituras (A0.685497). Arrangement of the song The Scientist (Coldplay) for Flute, Trumpet in Bb, Violin, Cello and Piano Accompaniment with Chords.
$14.99
13.98 €
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Coldplay
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The Scientist
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Minhas Partituras
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SheetMusicPlus
The Scientist
String Quintet Cello,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.1421480
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String Quintet Cello,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.1421480 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Marcelo Ianni. 21st Century,Pop,Wedding. 19 pages. Marcelo Ianni #1002537. Published by Marcelo Ianni (A0.1421480). By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Contemporary, Pop, Wedding, Organizado por Marcelo Ianni. Partitura e partes, 19 páginas. Performance Time:Approx. 04:48.
$12.99
12.12 €
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Coldplay
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The Scientist
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Marcelo Ianni
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SheetMusicPlus
Sacrum Creaturae
String Quartet: 2 violins, viola, cello
String Quartet String Quartet - Digital Download SKU: A0.980596 Composed by William…
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String Quartet String Quartet - Digital Download SKU: A0.980596 Composed by William Grosvenor Neil. Contemporary. Score and parts. 81 pages. TheComposerStudio.Com, LLC #6565287. Published by TheComposerStudio.Com, LLC (A0.980596). Sacrum Creaturae (2019) (score and parts) for string quartet and digital acoustic commissioned and premiered August 18th, 2021 at the Stringwood Chamber Music Festival by the Artaria String Quartet, profiles three endangered creatures: wolves, dolphins, and birds in the three movements of this string quartet. Each of the digital acoustics, the recorded and processed sounds of wolves, dolphins, and birds, explore the sounds of these creatures from three perspectives. Canis Lupus-Nocturne developed through the exploration of wolf howls, growls, snarls, barks, and choruses. My goal in integrating the sounds of wolves with the string quartet was to make them equally passionate and expressive driving the dynamic and emotional climaxes of the music with equal intensity. Programatically, I have placed the wolves deep in the forest, in an environment that allows the string quartet to evoke the mystery and primal energy associated with these animals. I make musical references to the controversy of re-introducing these animals in the wild and the history of violent annihilation by hunters. Delphinus-Cradlesong comprises the slow, middle movement of this piece. The cradlesong is literal and is inspired by the recent discovery by marine scientists that a mother dolphin will sing to its unborn calf so that it bonds with the mother and is familiar with her voice after birth. I have essentially orchestrated my Cradlesong for solo piano for string quartet and the whistling sounds of a mother dolphin singing to its calf. The final movement, 21 Birds, incorporates the bird calls of 21 birds in the Driftless region of the upper Mississippi, integrated with the thematic music of the string quartet. I treat the birds as 21 soloists and as an orchestra of birds accompanying the quartet. In the performance with the quartet, I have employed various special effects, such as reverberation, echo, and delay to blend the two acoustics. Parts rental for performance including the digital acoustic files and support http://www.thecomposerstudio.com/chamber-music/#tab-13006 Inquires at: thecomposerstudio@gmail.com.
$30.00
27.99 €
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String Quartet: 2 violins, viola, cello
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William Grosvenor Neil
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Sacrum Creaturae
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TheComposerStudio.Com, LLC
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SheetMusicPlus
The Scientist - Piano Accompaniment by Coldplay - Instrumental Parts
Performed by: Coldplay: The Scientist - Piano Accompaniment Digital Sheetmusic - instantly…
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Performed by: Coldplay: The Scientist - Piano Accompaniment Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: Solo & Accompaniment;Instrumental Parts, instruments: C Instrument;Piano Accompaniment;Violin;Oboe;Flute;Recorder; 5 pages -- Alternative Pop/Rock~~Pop Rock~~Piano Rock
$5.25
4.9 €
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Coldplay
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Piano Accompaniment by Coldplay
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Musicnotes
The Scientist - C Instrument by Coldplay - for Flute, Oboe, Recorder or Violin
C Instruments
Performed by: Coldplay: The Scientist - C Instrument Digital Sheetmusic - instantly downlo…
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Performed by: Coldplay: The Scientist - C Instrument Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: Instrumental Solo;Instrumental Part, instruments: C Instrument;Violin;Oboe;Flute;Recorder; 2 pages -- Alternative Pop/Rock~~Pop Rock~~Piano Rock
$2.99
2.79 €
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C Instruments
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Coldplay
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C Instrument by Coldplay
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Musicnotes
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