Partitions Numériques de Let It Come pour Voix haute

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Let It Come
Non classifié 1 354

Piano & claviers
Piano seul 220
Piano Facile 148
Piano, Voix et Guitare 83
Piano, Voix 66
Orgue 25

Instruments en Do 19
Accompagnement Piano 16
1 Piano, 4 mains 9
Piano Trio: piano, violon, violoncelle 4
Piano Quintette: piano, 2 violons, alto, violoncelle 3
2 Pianos, 4 mains 3
Piano grosses notes 1
Ensemble d'Accordéons 1
Piano Quatuor: piano, violon, alto, violoncelle 1
Piano Quatuor: piano, 2 violons, violoncelle 1
Accordéon 1
Orgue, Piano (duo) 1

+ 12 instrumentations

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Guitares
Guitare notes et tablatures 24
Guitare 15
Ligne De Mélodie, (Paroles) et Accords 5
Basse electrique 5
Ukulele 5

2 Guitares (duo) 2
3 Guitares (trio) 1
Mandoline 1
Banjo 1
Piano, Guitare (duo) 1
Paroles et Accords 1
Dulcimer 1
4 Guitares (Quatuor) 1

+ 8 instrumentations

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Voix
Chorale SATB 95
Chorale 2 parties 57
Chorale 3 parties 47
Chorale Unison 17
Chorale TTBB 16

Chorale SSAA 13
Voix duo, Piano 5
Voix Baryton, Piano 4
Voix basse, Piano 4
Voix Tenor, Piano 3
Voix Alto, Piano 2
Voix haute 2

Voix moyenne, Piano 2
Voix seule 2
Voix Soprano, Piano 2
Voix duo 2

+ 11 instrumentations

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Vents
Quintette de Saxophone: 5 saxophones 158
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 116
Ensemble de saxophones 100
Quatuor de Saxophones: 4 saxophones 91
Flûte, Hautbois, Clarinette, Basson 68

2 Saxophones (duo) 44
Clarinette et Piano 41
Ensemble de Clarinettes 36
Flûte traversière et Piano 32
Hautbois, Piano (duo) 29
2 Flûtes traversières (duo) 28
2 Flûtes traversières, Piano 25
Clarinette 24
Hautbois (partie séparée) 22
Quintette de Flûte : 5 flûtes 20
3 Saxophones (trio) 17
Quatuor de Clarinettes: 4 clarinettes 15
Saxophone Alto et Piano 13
Flûte traversière 13
Quatuor de Flûtes : 4 flûtes 12
Saxophone Alto 12
Ensemble de Flûtes 12
2 Clarinettes (duo) 11
Saxophone Tenor et Piano 11
Saxophone (partie séparée) 10
Saxophone Soprano et Piano 10
Saxophone Baryton, Piano 9
Flûte, Clarinette, Cor, Basson (Quartet) 8
Saxophone Tenor 7
Trio de Flûtes: 3 flûtes 7
3 Clarinettes (trio) 7
Cor anglais, Piano 6
Flûte à bec Soprano 6
Quintette de Clarinettes: 5 clarinettes 5
2 Hautbois (duo) 5
Flûte, Violon, Piano 4
Clarinette, Guitare (duo) 3
Saxophone 3
Flûte et Guitare 3
Flûte, Hautbois, Clarinette (trio) 3
Clarinette, Basson (duo) 3
Flute (partie séparée) 3
Clarinette Basse, Piano 3
Quatuor de Flûtes à bec 2
Saxophone, Clarinette (duo) 2
Flûte, Clarinette (duo) 2
Flûte, Hautbois, Basson 2
Flûte, Clarinette et Basson 2
2 Flûte à bec (duo) 2
2 Clarinettes, Piano 2
Hautbois, Clarinette, Basson (trio d'anches) 2
Hautbois, Basson (duo) 1
3 Flûtes à bec (trio) 1
Clarinette, Harpe (duo) 1
Flûte, Saxophone (duo) 1
Cor Anglais 1
3 Hautbois 1
Flûte, Hautbois, Piano (trio) 1
Flûte, Violoncelle 1
Flûte, Violoncelle, Piano (trio) 1
Flûte, Violon et Violoncelle 1
Hautbois 1
Harmonica 1
Flûte à bec Alto 1
Ensemble de Hautbois 1
Flûte à Bec 1
4 Hautbois 1
Flûte, Basson et Piano 1
Piccolo, Piano 1
Clarinette, Trompette (duo) 1
Clarinette, Violoncelle (duo) 1
Clarinette, trompette et piano 1
Flûte, Clarinette, Piano (trio) 1
Clarinette, Violon (duo) 1
Flûte, Alto et Piano 1
5 Flûtes à bec 1
Clarinette, Violoncelle, Piano (trio) 1
Piccolo 1

+ 73 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 121
Quatuor de Cuivres : 2 trompettes, trombone, tuba 89
Quatuor de Cuivres 79
Quatuor de Cuivres: 2 trompettes, Cor, trombone 44
Ensemble de Trombones 33

Ensemble de Trompettes 23
Trombone et Piano 23
Trompette 21
Cor 18
Quatuor de cuivres: 4 trombones 17
Trombone 16
Cor et Piano 16
Trompette, Piano 15
Tuba et Piano 10
2 Trompettes (duo) 9
Ensemble de Cors 7
Trompette (partie séparée) 6
Cor anglais, Piano 6
Tuba 6
2 Trombones (duo) 6
2 Cors (duo) 4
Euphonium, Piano (duo) 4
Trompette, Trombone (duo) 3
2 Tubas (duo) 2
Trombone (partie séparée) 2
Trio de Cuivres 2
Trompette, Violoncelle et Piano 1
Ensemble de Tubas 1
Quatuor de cuivres: 4 trompettes 1
Cor Anglais 1
Trompette, Saxophone (duo) 1
2 Euphoniums et 2 Tubas 1

+ 27 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 145
Quintette à cordes: 2 violons, alto, violoncelle, basse 66
Violon et Piano 47
Violon 30
Violoncelle, Piano 28

Trio à Cordes: violon, alto, violoncelle 27
Alto, Piano 25
Violon, Violoncelle (duo) 23
2 Violons (duo) 20
Ensemble d'Altos 20
Ensemble de Violons 19
2 Violoncelles (duo) 17
Violoncelle 17
Harpe 12
2 Altos (duo) 12
Alto seul 9
Contre Basse 8
Contrebasse, Piano (duo) 6
4 Violoncelles 6
Trio à Cordes: 2 violons, violoncelle 5
Trio à cordes: 3 altos 5
Trio à cordes: 3 violins 3
Trio à Cordes: 3 violoncelles 3
Quatuor à cordes: 4 violons 3
Harpe, Voix 3
Violon, Alto (duo) 3
Alto (partie séparée) 2
Quatuor à cordes : 4 altos 2
2 Contrebasses (duo) 2
Piano Trio: Violon, Alto, Piano 2
Violoncelle , Guitare (duo) 2
Quintette à cordes: 2 violons, 2 altos, violoncelle 2
Contrebasse (partie séparée) 1
Violon, Basson (duo) 1
Violon, Clarinette, Piano (trio) 1
Harpe, Flûte (duo) 1
Ensemble de Violoncelles 1
Alto, Violoncelle (duo) 1

+ 33 instrumentations

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Orchestre & Percussions
Orchestre d'harmonie 131
Cloches 130
Orchestre 61
Orchestre à Cordes 29
Orchestre de chambre 23

Ensemble Jazz 20
Ensemble de cuivres 14
Ensemble de Percussions 8
Ensemble d'École 5
Fanfare 4
Jazz combo 3
Marimba 3
Big band 1
Xylophone, Piano 1
Piano et Orchestre 1
Quintette de Cuivres: autres combinaisons 1
Orchestre, Violon 1

+ 12 instrumentations

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Let It Come

Voix haute

Partitions à imprimer

2 partitions trouvées

CAVALLI Francesco: Come scherza quel augelletto, aria from the cantata, arranged for Voice and Piano

CAVALLI Francesco: Come scherza quel augelletto, aria from the cantata, - Voice and Piano #Voix haute #FACILE #Francesco CAVALLI #Sergei PICHUGIN #CAVALLI Francesco: Come scherz #Really Good Music, LLC. #SheetMusicPlus

High Voice,Vocal Solo - Level 2 - SKU: A0.868793 Composed by Francesco CAVALLI (1602 â€“ 1676). Arranged by Sergei PICHUGIN. Baroque,Concert,Instru...(+)

High Voice,Vocal Solo - Level 2 - SKU: A0.868793 Composed by Francesco CAVALLI (1602 â€“ 1676). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 6 pages. Really Good Music, LLC. #4596593. Published by Really Good Music, LLC. (A0.868793). Come scherza quel augelletto is an aria from Solo cantata VII Sospiri ohime, sospiri, written by the eminent Italian composer Francesco CAVALLI (1602 â€“ 1676). The realization of the aria for voice and piano, made by Sergei Pichugin, is based on the manuscript, including twelve of Cavalliâ€™s cantatas for voice solo and basso continuo. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of C major (E4 â€“ G5) for high voice.

$5.95 ≈ 5.44€

The Unquiet Grave from American Death Ballads (Downloadable)

The Unquiet Grave from American Death Ballads (Downloadable) #Voix haute #David Conte #The Unquiet Grave from America #E. C. Schirmer Music Company - Digital #SheetMusicPlus

High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer M...(+)

High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Coplandâ€™s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susaâ€™s Two Murder Ballads. The ingenuity of Susaâ€™s accompaniments for his ballads in imagining anew the original source material owes a great deal to Coplandâ€™s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englanderâ€™s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executionerâ€™s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.

$3.50 ≈ 3.20€

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