Tout le site ▾
Tout le site ▾
Partitions GRATUITES
Partitions LIVRES
Partitions NUMÉRIQUES
MATERIEL de Musique
Mon compte
(connectez-vous)
$
$
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites ▾
▽ INSTRUMENTS
ACCORDEON
ALTO
AUTRES INSTRU…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHORA…
CHARANGO
CITHARE
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNET
DOBRO - GUIT.…
DULCIMER
EUPHONIUM
FANFARE - BAN…
FLUTE
FLUTE A BEC
FLUTE DE PAN
GUITARE
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEORBE
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
PARTITIONS VI…
PERCUSSION
PIANO
SAXOPHONE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLE DE GAMB…
VIOLON
VIOLONCELLE
XYLOPHONE
|
NOUVEAUTÉS
|
GENRES
|
20eme siecle
Bluegrass
Baroque
Blues
Celtique
Celebrations
Classique
Classique contemporain
Contemporain
Hymnes Nationaux
Jazz
New age
Opera
Ragtime
Renaissance
Romantique
Sonate
Tango
Traditionnel
Valse
Afro-americain
Ballade
Chant Occitan
Chanson
Chinois
Ethnique
Klezmer
Flamenco
Folk
Japonais
March
Medieval
Musette
Orientale
Pasodoble
Populaire Francais
Populaire Danse
Reggae
Swing
World / Bresil
World / Latino
APPRENTISSAGE:
Dictionnaires
Enfants
Etudes
Methodes
Musicologie
Partitions vierges
Theorie de la musique
Solfeges
Solfege rythmique
RELIGIEUX:
Chants Gregoriens
Christian
Eglise/Religion
Gospel
Hassidique
Israeli
Hymnes Africains
Mariage
Noël
DIFFICULTÉ
|
Débutant
Facile
Intermédiaire
Intermédiaire/avancé
Avancé
TOP
|
TOP TELECHARGEMENTS
TOP 100 CLASSEMENT SOCIAL
COMPOSITEURS
|
Compositeurs membres
Compositeurs historiques
Tous les compositeurs
INSTRUMENTATIONS
|
SOLO
DUO
TRIO
QUATUOR
QUINTET
ENSEMBLE
TOUS
R. AVANCÉES
|
Partitions Numériques
ACCUEIL
|
NOUVEAUTÉS
|
PIANO
|
Partitions Piano
Piano seul
Piano, Voix, Guitare
Piano duo
Piano facile
Méthodes Piano
Méthodes
Etudes
Partitions Orgue
Orgue seul
Orgue duo
INSTRUMENTAL
|
Cordes
Violon
Alto
Violoncelle
Contrebasse
Harpe
Vents
Flute
Clarinette
Hautbois
Saxophone
Basson
Cuivre
Trompette
Cor
Trombone
Tuba
Guitare
Guitare Tablatures
Piano, Voix, Guitare
Basse
Folk
Accordéon
Banjo
Dulcimer
Ukulélé
Mandoline
Chambre
Quatuor à cordes
Quintet à vent
Quintet de cuivres
Cloches
ORCHESTRE
|
Orchestre d'Harmonie
Ensemble Jazz
Jazz combo
Ensemble de Cuivres
Fanfare
Methodes
Orchestre
Orchestre à cordes
Orchestre de chambre
Ensemble de percussions
CHORALE / VOIX
|
Chorale
SATB
TTBB
SSAA
3 parties
2 parties
Voix
Piano, Voix, Guitare
Piano, Voix
Voix seule
Voix duo
GENRES
|
20eme siecle
Asie
Bluegrass
Blues
Celtique
Chanson Francaise
Classique
Comédie Musicale
Country
Enfant
Film / TV
Film Walt Disney
Fingerpicking
Flamenco
Folk Rock
Funk
Gospel
Halloween
Jazz
Jeux Video
Klezmer
Latin / World
Latin Pop
Mariage / Amour
Medieval / Renaissance
Metal
Méthodes
Méthodes - Etudes
New Age
Noël
Patriotique
Pop
Reggae
Religion / Eglise
Rock
Rock Alt.
Soul / Rap
Tango
Traditionnel
DIFFICULTÉ
|
Débutant
Facile
Intermédiaire
Intermédiaire/avancé
Avancé
NOËL
|
Librairie Musicale ▾
TOP VENTES
|
NOUVEAUTÉS
|
PIANO
|
Tout Piano
Piano Débutant
Piano Facile
Piano Seul
PVG
Meilleures Ventes
Nouveautes
GUITARE
|
Tout Guitare
Guitare Débutant
Guitare Facile
Guitare avec TABLATURE
Guitare avec SOLFEGE
Meilleures Ventes
Nouveautes
VOIX/CHORALE
|
Tout Chorale & Voix
Voix seule
Chorale 2 Parties
Chorale 3 Parties
Chorale SATB
Chorale TTBB
Chorale SSAA
Chorale UNISON
Meilleures Ventes
Nouveautes
INSTRUMENTS
|
CLAVIERS
ACCORDEON
CLAVECIN
ORGUE
PIANO
GUITARES
GUITARE
BANJO
BASSE
DOBRO
UKULELE
VOIX
CHANT - CHORALE
CORDES
ALTO
CONTREBASSE
HARPE
VIOLE DE GAMBE
VIOLON
VIOLONCELLE
VENT
BASSON
CLARINETTE
COR ANGLAIS
FLUTE
FLUTE A BEC
FLUTE DE PAN
HARMONICA
HAUTBOIS
SAXOPHONE
ENSEMBLE
ORCHESTRE
FANFARE - BANDA
CUIVRES
BUGLE
COR
CORNET
EUPHONIUM
TROMBONE
TROMPETTE
TUBA
FOLK
BALALAIKA
BOUZOUKI
CHARANGO
CITHARE
DULCIMER
LUTH, THEORBE
MANDOLINE
PERCUSSIONS
BATTERIE
CLOCHES
MARIMBA
PERCUSSION
VIBRAPHONE
XYLOPHONE
AUTRES
AUTRES INSTRU…
FORMATION MUSICALE
LIVRES
PARTITIONS VIERGES
INSTRUMENTATIONS
|
GENRES
|
20eme siecle
Africain
Asie
Bluegrass
Blues
Celtique
Chanson Francaise
Classique
Comédie Musicale
Country
Enfant
Europe de l'Est
Examen
Film / TV
Film Walt Disney
Fingerpicking
Flamenco
Folk Rock
Funk
Gospel
Halloween
Jazz
Jazz Manouche
Jeux Video
Klezmer
Latin / World
Latin Pop
Mariage / Amour
Medieval / Renaissance
Metal
Méthodes
Méthodes - Etudes
New Age
Noël
Patriotique
Pop
Reggae
Religion / Eglise
Rock
Rock Alt.
Soul / Rap
Tango
Traditionnel
SECTIONS
|
ARTISTES
EDITEURS
FORMATION MUSICALE
IDEES CADEAUX
LIVRES SUR LA MUSIQUE
PLAY-ALONG
R. AVANCÉE
Matériel de Musique ▾
STUDIO
|
SONO
|
ACCESSOIRES
|
ACCESSOIRES
|
CABLE
|
EFFET
|
FLIGHT
|
LOGICIEL
|
VIDEO
LUMIERE
|
DEEJAY
|
MICROPHONE
|
MARQUES
|
GUITARE
|
CLAVIER
|
PERCUSSION
|
VENT
|
NOËL
|
CORDES/TRAD.
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
First, Last and Always
Non classifié
23
Piano & claviers
Piano seul
13
1 Piano, 4 mains
2
Piano, Voix et Guitare
2
Instruments en Do
1
Orgue
1
Piano, Voix
1
+ 1 instrumentations
Retracter
Guitares
Guitare notes et tablatures
4
Guitare
2
Voix
Chorale SATB
5
Chorale TTBB
1
Chorale 3 parties
1
Chorale 2 parties
1
Voix Tenor
1
Vents
Flûte traversière et Piano
1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1
Hautbois, Piano (duo)
1
Quatuor de Clarinettes: 4 clarinettes
1
Quatuor de Saxophones: 4 saxophones
1
Flûte, Hautbois, Clarinette, Basson
1
+ 1 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Trompette
2
2 Euphoniums et 2 Tubas
1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Trombone
1
Tuba
1
+ 1 instrumentations
Retracter
Cordes
Violon
3
Quatuor à cordes: 2 violons, alto, violoncelle
3
Violon, Violoncelle (duo)
2
Violon et Piano
2
Violoncelle
1
Alto, Piano
1
+ 1 instrumentations
Retracter
Percussions & orchestre
Orchestre
3
Ensemble Jazz
2
Ensemble de cuivres
1
Orchestre de chambre
1
Piano et Orchestre
1
Orchestre à Cordes
1
+ 1 instrumentations
Retracter
Autres
Imprimer aprés achat
Accueil
Meilleures Ventes
Nouveautés
Vendeurs
Vendeurs
Européens
Chez Tomplay
Chez Quickpartitions
Chez Noviscore
Chez Profs-edition
Chez Note4piano
Américains
Chez Musicnotes
Chez Sheetmusicplus
Chez Virtualsheetmusic
Artistes Internationaux
Artistes Francophones
Top artistes
Top artistes
POP
Adele
Billie Eilish
Ed Sheeran
BTS
Coldplay
Pharrel Williams
Daft Punk
Avicii
Bruno Mars
Lily Allen
Birdy
John Legend
Passenger
Beatles
NEW AGE / CONTEMPORAINS :
Ludovico Einaudi
Yiruma
John Williams
Piazzolla
John Rutter
Dmitri Shostakovich
Benjamin Britten
FILMS
Lin-Manuel Miranda
Joe Hisaishi
Ennio Morricone
Yann Tiersen
John Williams
Howard Shore
Hans Zimmer
FRANÇAIS :
Slimane
Calogero
Clara Luciani
Vianney
Kendji Girac
Stromae
William Sheller
Georges Brassens
Claude Nougaro
Serge Gainsbourg
Jean Jacques Goldman
PARTITIONS GRATUITES
187 000+ partitions
BOUTIQUE PARTITIONS
1 500 000+ acheter et livraison
PARTITIONS NUMÉRIQUES
2 000 000+ acheter et imprimer
MATERIEL DE MUSIQUE
Accessoires & Instruments
Partitions Numériques, Accès après l'Achat
Expédition postale
Téléchargement
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Meilleures ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
First, Last and Always
Partitions à imprimer
93 partitions trouvées
<
1
26
51
76
First, Last and Always (I Love You). Ballad Fox Trot
First, Last and Always (I Love You). Ballad Fox Trot
#
Harry Akst
#
First, Last and Always
#
Johns Hopkins University Sheridan Libraries
#
SheetMusicPlus
Piano and voice; ukulele - SKU: LV.8981 Composed by Harry Akst. Portraits. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University She...
(+)
Piano and voice; ukulele - SKU: LV.8981 Composed by Harry Akst. Portraits. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.8981). First, Last and Always (I Love You). Ballad Fox Trot. Lyric by Benny Davis. Music by Harry Akst. Published 1923 by Jerome H. Remick & Co. in New York. Composition of strophic with chorus with piano and voice; ukulele instrumentation. Subject headings for this piece include Portraits. First line reads Where there's love there's happiness they say.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99 ≈
$8.06
Grand Duo, opus 151 (2012) full score
Grand Duo, opus 151 (2012) full score
#
Violon et Piano
#
INTERMÉDIAIRE/AVANCÉ
#
Thomas Oboe Lee
#
Grand Duo, opus 151
#
Thomas Oboe Lee
#
SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.869204 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. With Andante ââ‚...
(+)
Piano,Violin - Level 4 - SKU: A0.869204 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. With Andante … 3. 2 pages. Thomas Oboe Lee #3901. Published by Thomas Oboe Lee (A0.869204). Program note: This is the third duo for violin and piano in my portfolio. The first one was written back when I was a student at the New England Conservatory of Music. It was my opus 3, The Sensuous Gargoyle (1975). My next one was a four-movement work entitled Tunesmith … An American Beauty Pageant (1993). It was commissioned by the Music Department at Lehigh University and premiered by two of its faculty members, Paul Chou and Paul Salerni. The violin has always been my favorite instrument. I have written twelve string quartets. For the violinist extraordinaire Irina Muresanu I wrote a big violin concerto in 2009, and a Partita for solo violin in 2011. I am slated to write another concerto, albeit a chamber one, for the Boston Classical Orchestra and violinist Sharon Roffman for a premiere in the fall of 2013. Last year I decided to write a third duo for violin and piano. I wanted to do something substantial and grandiose, hence the title Grand Duo, opus 151. Both Schubert and Lou Harrison have written works with the same title. So I thought, why not? The work is in five movements. 1. Misterioso … 2. Andante … 3. Allegro … Trio! 4. Largo … 5. Allegro … Enjoy! Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/grand-duo-opus-151-2012Video link: https://youtu.be/xThob_BQkDE
$9.99 ≈
$13.45
The Glastry Pearl. Tone Poem Elegy For My Mum.
The Glastry Pearl. Tone Poem Elegy For My Mum.
#
Orchestre
#
AVANCÉ
#
Geraldine
#
The Glastry Pearl. Tone Poem E
#
Geraldine
#
SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldin...
(+)
Full Orchestra - Level 5 - SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
$200.00 ≈
$269.25
There Is a Happy Land (Easy Piano Duet; 1 Piano, 4-Hands)
There Is a Happy Land (Easy Piano Duet; 1 Piano, 4-Hands)
#
1 Piano, 4 mains
#
DÉBUTANT
#
Musique Sacrée
#
Sharon Wilson
#
Sharon Wilson
#
There Is a Happy Land
#
Sharon Wilson
#
SheetMusicPlus
1 Piano,4 Hands,Piano Duet - Level 1 - SKU: A0.565119 By Sharon Wilson. By Andrew Young. Arranged by Sharon Wilson. Children,Praise & Worship,Sacred,Tra...
(+)
1 Piano,4 Hands,Piano Duet - Level 1 - SKU: A0.565119 By Sharon Wilson. By Andrew Young. Arranged by Sharon Wilson. Children,Praise & Worship,Sacred,Traditional. Score. 9 pages. Sharon Wilson #3435121. Published by Sharon Wilson (A0.565119). This mixed level, 1 piano, 4-hands duet arrangement of the cheerful hymn tune HAPPY LAND is designed for a beginning student to play the PRIMO while an intermediate player (teacher, parent, friend, sibling) plays the SECONDO. All notes in the PRIMO are played singly with the hands in one position centered around middle C and then played one octave higher. The PRIMO can also be played as a solo when played as written. Lyrics are included on the PRIMO for sing-along enjoyment.The first verse speaks about the saints singing as described in Revelation 7:9-10. This upbeat, cheerful arrangement echoes the joy that will be experienced when the prophecies of Revelation are fulfilled and sin and death are no more. What a joyous day that will be when in heaven with Jesus we will sing Worthy is our Savior King! The last phrase of the song uses the word aye which may be unfamiliar to many. This word from long ago simply means forever or always.The purchase price includes a 4-page combined score with both piano parts on each page plus the alternate format with the PRIMO and SECONDO on separate pages (2 pages each). Duration 1:30. This arrangement is one of the 10 songs included in the Easy Piano Duets collection titled What Heavenly Music.
$4.99 ≈
$6.72
Handel: Messiah (Der Messias) Hallelujah Chorus (original key of D) - wind dectet
Handel: Messiah (Der Messias) Hallelujah Chorus (original key of D) - wind dectet
#
Classique
#
George Frideric Handel
#
Ray Thompson
#
Handel: Messiah
#
RayThompsonMusic
#
SheetMusicPlus
Large Ensemble - Level 3 - SKU: A0.553419 Composed by George Frideric Handel. Arranged by Ray Thompson. Christmas,Classical,Sacred,Wedding. Score and pa...
(+)
Large Ensemble - Level 3 - SKU: A0.553419 Composed by George Frideric Handel. Arranged by Ray Thompson. Christmas,Classical,Sacred,Wedding. Score and parts. 27 pages. RayThompsonMusic #2551253. Published by RayThompsonMusic (A0.553419). Part II of Handel's Messiah closes with the chorus Hallelujah, in the key of D major.In many parts of the world, it is the accepted practice for the audience to stand for this section of the performance. The tradition is said to have originated with the first London performance of Messiah, which was attended by King George II. As the first notes of the triumphant Hallelujah Chorus rang out, the king was so moved that he rose to his feet and remained standing until the end of the chorus. Royal protocol has always dictated that when the monarch stands, everyone in the monarch's presence is also required to stand. Thus, the entire audience and orchestra stood when the king stood during the performance, initiating a tradition that has lasted more than two centuries.My arrangement is for standard wind dectet: 2 fl, 2 oboes,2 clt in A, 2 hns in D and 2 bassoons.
$14.95 ≈
$20.13
Percussion Quartet (2015) for vibraphone, marimba, drum set and multi-percussion (full score)
Percussion Quartet (2015) for vibraphone, marimba, drum set and multi-percussion (full score)
#
Thomas Oboe Lee
#
Percussion Quartet
#
Thomas Oboe Lee
#
SheetMusicPlus
Small Ensemble Drum Set,Marimba,Multi-Percussion,Vibraphone - Level 4 - SKU: A0.869371 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin...
(+)
Small Ensemble Drum Set,Marimba,Multi-Percussion,Vibraphone - Level 4 - SKU: A0.869371 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin. Score and parts. 27 pages. Thomas Oboe Lee #37741. Published by Thomas Oboe Lee (A0.869371). Program note: I met Brian Calhoon when he performed at a Boston Conservatory of Music recital featuring students of marimba godhead, Nancy Zeltsman. This was a few years ago … A year ago, I noticed that Brian had started a percussion ensemble with some friends called the Boston Percussion Group. I have always been fascinated with John Cage’s early explorations with percussion instruments: First, Second and Third Constructions; Imaginary Landscape Nos 1, 2 & 3; etc. These percussion pieces eventually led to his invention of the prepared piano. Brian and I got together one day for lunch last fall, and I asked him if he would be interested if I wrote a piece for his group. He said, Yes!!! Percussion Quartet is in six movements. 1 Back beat … Moderato. 2 Arioso … Moderato. 3 Funk march … Moderato. 4 Nachtmusik I … Adagio. 5 Fast and furious … Presto. 6 Nachtmusik II … Moderato Enjoy!!! Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/percussion-quartet-2015
$9.99 ≈
$13.45
Jacques Leguerney: String Quartet in D for two violins, viola and cello
Jacques Leguerney: String Quartet in D for two violins, viola and cello
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
AVANCÉ
#
Contemporain
#
Jacques Leguerney
#
II. Intermezzo
#
Jacques Leguerney: String Quar
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 ...
(+)
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 pages. Musik Fabrik Music Publishing #3457403. Published by Musik Fabrik Music Publishing (A0.534402). Jacques Leguerney (1906-1997) composed two string quartets. The Premier Quatuor à cordes was composed in 1925 during Leguerneyâ??s private piano and composition study with French pianist Thérèse Cahen. His second quartet, subject of this publication by Musik Fabrik, was written between November 1947 and September 1948. The four movements are: I. Allegro moderato; II. Intermezzo; III. Scherzando; IV. Presto-Andantino. This work was, in part, Leguerneyâ??s response to the Premier Quatuor à cordes (inédit) by his colleague, Henri Sauguet. Leguerney stated in a personal interview with Patrick Choukroun (18 May 1989) that: â??I wrote it a bit in opposition to Sauguetâ??s Premier Quatuor. It seemed to me that his quartet was without interest: just scratchings! I wanted to express my way of looking at it from the classical viewpoint of the past: it is almost in the spirit of Mozart, except for the harmonic language, of course. In fact, I wanted to fight against everything that has been done to a quartet since Beethovenâ??s last ones.â? The premiere of the Quatuor à cordes en ré mineur was by the Quatuor Pro Arte at the Abbaye de Royaumont. Before this performance, Poulenc sent Leguerney the following note: â??Fortunate man for whom twelve strings are enough to charm people, I wish you good luck and respectfully embrace you.â? (Handwritten letter, Reims, 4 September 1959). Leguerney was appointed artistic director of the Lumen recording company in 1951, and remained in this position until 1959. He produced four recordings of his music, including the Quatuor Pro Arteâ??s recording of the Quatuor à cordes en ré mineur (1947-1948) (Lumen, LD 2.440, 1958). This disc won the Grand Prix du Disque de lâ??Académie Charles Cros on 13 March 1959. The Pro Arteâ??s members were Suzanne Plazonich, Violin I; Chantal Beylier, Violin II; Nicole Gendreau, Viola; and Micheline Burtin, Cello. Francis Poulenc wrote to Leguerney concerning this recording: â??It is very good Leguerney. Of course, frivolous as I am and shall always remain, it is the 2nd movement that I prefer. Between us, I am like you: I prefer the scherzos after the andantes; that way one is not forced to write a Finale allegro. Yours pleases me very much, in fact, so to my ears it is III-IV-I-II, in the order of pleasure.â? (Manuscript letter, Bagnols, 14 October 1959) The radio station France I broadcast the Quatuor with on 11 July 1959 on the program Schola of the series Concert de musique contemporaine, again with the Quatuor Pro Arte. An archive recording of this broadcast exists on magnetic tape. Critic Claude Rostand wrote: â??Jacques Leguerney does not seem to have looked for special innovations either in form or language. His basic thought seems especially to have written a quartet, that is to say on one hand to have used the four voices with elegance and originality, clarity and homogeneity (four-part writing seems to always have come naturally to him, even at the piano), and on the other hand to exploit all of the supple cushioning that can result from the caress of a bow on a string.â? Critic Emile Vuillermoz wrote: â??His only ambition is to expresses clear and affectionate melodic ideas, in a highly distinguished, elegant and refined language, meaning an homage, in the beginning of our century, to the trios of the greatest stylists of our time. In fact, it is from the vocabulary of Fauré, Debussy and Ravel that he takes his grammar and syntax and that with which he carries out with his this harmonic writing that is both supple and sparse, that is so congenial to the association of four string instruments. This quartet, whose first movement is of a rare perfection, is a delicate enchantment.â? The Musik Fabrik edition of the Quatuor à cordes en ré mineur is taken from a photocopy of the composerâ??s manuscript of the full score. We also had access to the quartet parts found in Leg.
$38.95 ≈
$52.44
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
#
Jazz
#
Silvano A
#
Introduction, Theme and Variat
#
Soundnotation
#
SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
(+)
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
$18.78
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
#
Jazz
#
Silvano A
#
Introduction, Theme and Variat
#
Soundnotation
#
SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
(+)
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
$18.78
Always There
Always There
#
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
#
FACILE
#
Celtique/Irlandais
#
Brendan Graham and Rolf Lovlan
#
Ted Samuels
#
Always There
#
Theodore A. Samuels
#
SheetMusicPlus
Brass Quintet - Level 2 - SKU: A0.828659 Composed by Brendan Graham and Rolf Lovland. Arranged by Ted Samuels. Celtic,Contemporary,Irish,Pop. 21 pages. ...
(+)
Brass Quintet - Level 2 - SKU: A0.828659 Composed by Brendan Graham and Rolf Lovland. Arranged by Ted Samuels. Celtic,Contemporary,Irish,Pop. 21 pages. Theodore A. Samuels #5852319. Published by Theodore A. Samuels (A0.828659). This song was written by the team of Brendan Graham and Rolf Lovland, who also wrote You Raise Me Up. It was originally performed by their group Secret Garden, and The Canadian Tenors (aka The Tenors) have also recorded a fine version of it.This arrangement is for brass quintet with an optional medium voice. It begins in the key of Eb and then changes to F for the last verse and finale. (A similar arrangement for saxophone ensemble and low voice is also available.) It commemorates the 200th anniversary of the birth of Florence Nightingale, and is dedicated to the many frontline workers and first responders who have served faithfully at great personal risk during the Coronavirus COVID-19 pandemic of the early 2020s.
$14.99 ≈
$20.18
Silent Night For Full Orchestra And Chorus
Silent Night For Full Orchestra And Chorus
#
Orchestre
#
INTERMÉDIAIRE
#
Noël
#
Christian Paulson
#
Christian Paulson
#
Silent Night For Full Orchestr
#
Christian Paulson
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1153104 By Christian Paulson. By Franz Xaver Gruber. Arranged by Christian Paulson. 19th Century,Christmas,Holiday. S...
(+)
Full Orchestra - Level 3 - SKU: A0.1153104 By Christian Paulson. By Franz Xaver Gruber. Arranged by Christian Paulson. 19th Century,Christmas,Holiday. Score and Parts. 28 pages. Christian Paulson #753348. Published by Christian Paulson (A0.1153104). This arrangement began as a piece I arranged as a finale for our first combined band, orchestra, and choir concert. It was a big hit! Silent Night has always been a piece that everyone seems to hold dearly. The chorus has a traditional harmony right out of the green hymnal. This piece can also be done with a small group of singers or as a solo. The instruments parts are very accessible and the scoring makes every group sound full. One of the theatrical moments happens right after the climax of the second verse. Choke the cymbal and chimes on beat one of measure 55 and let the natural reverberance of the hall ring on. Slow the tempo, lower the volume and invite the audience to hum along to the last verse. Nothing brings musicians and audiences together like Silent Night.
$45.00 ≈
$60.58
Etude "Three Hands"
Etude "Three Hands"
#
Piano seul
#
AVANCÉ
#
Peter Saltzman
#
Etude "Three Hands"
#
Salt Muse, Inc
#
SheetMusicPlus
Instrumental Solo,Piano and Keyboard - Level 5 - Interactive Download SKU: A0.1162887 By Peter Saltzman. By Peter Saltzman. This edition: Interactive Dow...
(+)
Instrumental Solo,Piano and Keyboard - Level 5 - Interactive Download SKU: A0.1162887 By Peter Saltzman. By Peter Saltzman. This edition: Interactive Download. Classical,Jazz. Individual part. 8 pages. Duration 196. Salt Muse, Inc #4nxW5iY27ChHy497Z90vlj. Published by Salt Muse, Inc (A0.1162887). Key: F minor.No, it's not really for three hands; it just feels and (at times) sounds like it. This etude was supposed to be an R&B tune. When I first came up with the melody (1992), I tried to write lyrics. But nothing worked. I then tried to make it a band instrumental, with electric guitar taking the lead. Nah, too corny sounding. But I liked the tune. So I persisted and tried it as a solo piano piece. The thing is this: it retains its provenance as a piece for band because the two hands are basically acting as the band. Nothing unusual about that with regard to solo piano: it's always kind of a band or orchestra. What's different here is the left hand is usually playing both the tune and bass line. The right hand, when it joins the party at measure nine, acts like the backup singer (or maybe the guitar that was supposed to take the lead.) Remember that the bottom staff, as indicated, is always 8vb, except for the last measure. And should you take up the challenge to learn this, it is fatiguing but worth the effort.
$4.95 ≈
$6.66
Caprice for Viola and Piano
Caprice for Viola and Piano
#
Alto, Piano
#
FACILE
#
Contemporain
#
Phil Thrift
#
Caprice for Viola and Piano
#
Phil Thrift
#
SheetMusicPlus
Piano,Viola - Level 2 - SKU: A0.955749 Composed by Phil Thrift. Contemporary. Score and part. 11 pages. Phil Thrift #6683993. Published by Phil Thrift (...
(+)
Piano,Viola - Level 2 - SKU: A0.955749 Composed by Phil Thrift. Contemporary. Score and part. 11 pages. Phil Thrift #6683993. Published by Phil Thrift (A0.955749). Caprice started out as a totally different piece of music, as a song in fact. However, in this modified form in a different key, it works well as a short, easy solo for viola. This is a light piece without any technical difficulties, but the modest musical material will test your musicality. It’s mainly about melody, not technical abilities. Spirited, lyrical, reflective – those are the three moods the player needs to communicate, and always with a light touch. The first section, up to the key change, should be thought of as a song. That is followed by an instrumental interlude before the song returns at measure 72. At times there is a hint of Latin feeling in the piano accompaniment, which will require some sensitive playing to support that song-like concept. The repetition of the opening four notes in the solo part at the end should not be played loud – they should be regarded as an afterthought. Likewise, the last note in the piano part should not be a we’ve-reached-the-end thump, instead played lightly, like an understatement.
$3.99 ≈
$5.37
Paper Faces, Plastic Smiles
Paper Faces, Plastic Smiles
#
Piano, Voix et Guitare
#
AVANCÉ
#
John Christopher Yount
#
John Christopher Yount
#
Paper Faces, Plastic Smiles
#
John Christopher Yount
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 5 - SKU: A0.979430 Composed by John Christopher Yount. Arranged by John Christopher Yount. 20th Century,Christian,Gradu...
(+)
Guitar,Piano,Vocal,Voice - Level 5 - SKU: A0.979430 Composed by John Christopher Yount. Arranged by John Christopher Yount. 20th Century,Christian,Graduation,Holiday,Instructional,Love. Score. 9 pages. John Christopher Yount #4783719. Published by John Christopher Yount (A0.979430). PF, PS intro music is a gift for Mary, Mother of Jesus. I first conceived of this poem and melody while an undergraduate at Duke Univ, sharing it with a friend who enjoyed the jazz reggae syncopation and melody line as we sang bits of the poem together. The poem is a long popular song, and it took me some time to perfect the intro as it is today. I am very proud of this work, as I believe it is a most original P/V intro to reggae melodies as we know them today. I write this song in honor of Mary, because she is such a genuine Goddess of Creation, the majestic and pure Mother of Jesus who always interacted with others in a straightforward and genuine manner. This song is about perseverance in the face of interpersonal superficiality, and it will take me some more time and effort to differentially cut and paste the strophic nature of the music on Finale. Enjoy!PS The title page and introduction to Puddle Jumpin' were written many years ago, and map out my dream of writing the Puddle Jumpin' Songbook Collection, Songs for Children of All Ages. Come Sweet Jesus, and save us from ourselves!!! One Family in Christ, JCY
$4.99 ≈
$6.72
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
#
Guitare
#
INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
$9.42
Allegories for Flute, Euphonium, and Piano
Allegories for Flute, Euphonium, and Piano
#
Sy Brandon
#
Allegories for Flute, Euphoniu
#
Sy Brandon
#
SheetMusicPlus
Euphonium,Flute,Piano - Level 5 - SKU: A0.1141957 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 65 pages. Sy Brandon #742334. Publish...
(+)
Euphonium,Flute,Piano - Level 5 - SKU: A0.1141957 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 65 pages. Sy Brandon #742334. Published by Sy Brandon (A0.1141957). “Allegories†is a five-movement composition based upon Aesop’s Fables. It was commissioned by and dedicated to Frank Meredith. The first movement “The Trumpeter Taken Captive†is a fable about how one’s actions affect the outcome. The trumpeter, who incites others to do battle, is as guilty as those who slay the enemy. The euphonium represents the trumpeter by playing battle tunes. Then the ensemble plays capture music, begging music, fatal music representing the slaying of the trumpeter (euphonium), and finally music representing the moral of the story. “The Boy Who Cried Wolf†is the basis for the second movement. The allegory is that nobody believes a liar. The flute plays a shepherd’s tune to represent the bored shepherd boy. The ensemble plays excited music three times as the boy cries wolf, the first two times just to amuse himself. After the third time when nobody responds to his cries, the flute plays a lament to end the movement. The third movement reflects the story of “The Goose That Laid The Golden Egg.†A golden euphonium melody accompanied by rich harmony represents the golden eggs laid by the goose. The ensemble then plays greedy music that is followed by a minor key lament as the farmer has killed his rich source of income because of his greed. A sweet dancing flute solo begins movement four appropriately named “The Fisherman and His Flute.†This short fable has the allegory of “timing is everything.†The poor fisherman expected the fish to jump out of the sea in response to his flute playing to no avail. When the ensemble plays a similar tune, it represents his success when he uses his net. The fisherman says “you bloody fish, when I played the flute you wouldn’t dance, but as soon I stopped, you started up.†The race between the “Tortoise and the Hare†is the subject of the last movement. The plodding euphonium represents the tortoise and the fast and agile flute represents the hare. The flute takes a nap in the middle of the movement and by the time the flute wakes up, it is too late to catch up with the slow and steady tortoise. The race is not always to the swift.
$14.99 ≈
$20.18
Allegories for Flute, Euphonium, and Percussion
Allegories for Flute, Euphonium, and Percussion
#
Sy Brandon
#
Allegories for Flute, Euphoniu
#
Sy Brandon
#
SheetMusicPlus
Euphonium,Flute,Percussion - Level 5 - SKU: A0.1141962 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 63 pages. Sy Brandon #742339. Pu...
(+)
Euphonium,Flute,Percussion - Level 5 - SKU: A0.1141962 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 63 pages. Sy Brandon #742339. Published by Sy Brandon (A0.1141962). “Allegories†is a five-movement composition based upon Aesop’s Fables. It was commissioned by and dedicated to Frank Meredith. The first movement “The Trumpeter Taken Captive†is a fable about how one’s actions affect the outcome. The trumpeter, who incites others to do battle, is as guilty as those who slay the enemy. The euphonium represents the trumpeter by playing battle tunes. Then the ensemble plays capture music, begging music, fatal music representing the slaying of the trumpeter (euphonium), and finally music representing the moral of the story. “The Boy Who Cried Wolf†is the basis for the second movement. The allegory is that nobody believes a liar. The flute plays a shepherd’s tune to represent the bored shepherd boy. The ensemble plays excited music three times as the boy cries wolf, the first two times just to amuse himself. After the third time when nobody responds to his cries, the flute plays a lament to end the movement. The third movement reflects the story of “The Goose That Laid The Golden Egg.†A golden euphonium melody accompanied by rich harmony represents the golden eggs laid by the goose. The ensemble then plays greedy music that is followed by a minor key lament as the farmer has killed his rich source of income because of his greed. A sweet dancing flute solo begins movement four appropriately named “The Fisherman and His Flute.†This short fable has the allegory of “timing is everything.†The poor fisherman expected the fish to jump out of the sea in response to his flute playing to no avail. When the ensemble plays a similar tune, it represents his success when he uses his net. The fisherman says “you bloody fish, when I played the flute you wouldn’t dance, but as soon I stopped, you started up.†The race between the “Tortoise and the Hare†is the subject of the last movement. The plodding euphonium represents the tortoise and the fast and agile flute represents the hare. The flute takes a nap in the middle of the movement and by the time the flute wakes up, it is too late to catch up with the slow and steady tortoise. The race is not always to the swift.
$14.99 ≈
$20.18
The Last Time
The Last Time
#
Instruments en Do
#
INTERMÉDIAIRE/AVANCÉ
#
Eric Benet
#
Arby Richter
#
The Last Time
#
Arby Richter
#
SheetMusicPlus
C Instrument - Level 4 - SKU: A0.1285099 By Eric Benet. By Amy Foster, David W Foster, and Eric Benet Jordan. Arranged by Arby Richter. Hip-Hop,Pop,R & ...
(+)
C Instrument - Level 4 - SKU: A0.1285099 By Eric Benet. By Amy Foster, David W Foster, and Eric Benet Jordan. Arranged by Arby Richter. Hip-Hop,Pop,R & B,Singer/Songwriter,Standards,Wedding. Lead Sheet / Fake Book. 2 pages. Arby Richter #876206. Published by Arby Richter (A0.1285099). THE LAST TIME was written by Eric Benet, David W. Foster, and Amy Foster-Gillies. This song is part of Benet's studio album HURRICANE which was released in June 2005 by Friday Records. Since its release, The Last Time has always been a favorite for weddings, and is frequently used as a song for the Couple's First Dance. Here are a few lines of the song . . .The first time I fell in love was long agoI didn't know how to give my love at allThe next time I settled for what felt so closeBut without romance, you're never gonna fallAfter everything I've learnedNow it's finally my turnThis is the last time I'll fall in love.
$6.99 ≈
$9.41
The Princess Of Sintra For Violin And Cello
The Princess Of Sintra For Violin And Cello
#
Violon, Violoncelle (duo)
#
INTERMÉDIAIRE/AVANCÉ
#
Luis Anjos Teixeira
#
The Princess Of Sintra For Vio
#
Luis Anjos Teixeira
#
SheetMusicPlus
String Ensemble - Level 4 - SKU: A0.889442 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score and parts. 22 pages. Luis An...
(+)
String Ensemble - Level 4 - SKU: A0.889442 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score and parts. 22 pages. Luis Anjos Teixeira #4766851. Published by Luis Anjos Teixeira (A0.889442). The Princess Of Sintra It is not a beginners choice, it is appropriate for experienced and advanced students and musicians. It is relatively easy to perform once thoroughly practiced. When played „Live you will experience a great rewarding from its magical power upon the public. Some interpretation symbols where used in the score, they are mere personal suggestions. Most of the score is left to the interpretation of the artists involved, particularly the use of fingering. The bowing is very often simply used as a reference to musical legato. The staccato is meant to shorten the length of the notes to half of its duration and is often used to simplify the righting and the reading of the score. The piece is not difficult but it requires focused endurance and some practice on certain passages. Once learned you will never forget it. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. Feel Free to apply in this piece the Art and technic that expresses entirely your individual skills and taste. Have fun! It is a very flexible piece that can be used in all kinds of events. This piece can also be performed between the „Celtiberian Danceand the Celtiberian Fantasy, as all this 3 pieces where composed with that purpose. To the last note of „The Princess Of Sintra follows the first of the „Celtiberian Fantasy. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$11.66 ≈
$15.70
Fandango de Huelva
Fandango de Huelva
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Flamenco
#
Traditional
#
Richard Hirsch
#
Fandango de Huelva
#
Richard Hirsch
#
SheetMusicPlus
Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 9 pages. Richard Hirsch #190297. Publis...
(+)
Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 9 pages. Richard Hirsch #190297. Published by Richard Hirsch
A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, Mlaga, Almera) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a comps, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the comps falling on the third beat of the first 4/4 measure. The first accented beat in the comps falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms? Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan Gonzlez ?Triguito? in Madrid in the late 1960?s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mesn de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzapa, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzapa and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.
$4.99 ≈
$6.72
Gregory Sullivan Isaacs: Songs From Calamus for tenor voice and piano
Gregory Sullivan Isaacs: Songs From Calamus for tenor voice and piano
#
Voix Tenor
#
AVANCÉ
#
Gregory Sullivan Isaacs
#
Gregory Sullivan Isaacs: Songs
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Tenor Voice,Vocal Solo - Level 5 - SKU: A0.533282 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 21 pages. Musik Fabrik Music Publishin...
(+)
Tenor Voice,Vocal Solo - Level 5 - SKU: A0.533282 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 21 pages. Musik Fabrik Music Publishing #2331251. Published by Musik Fabrik Music Publishing (A0.533282). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95 ≈
$22.82
Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
#
Gregory Sullivan Isaacs
#
Gregory Sullivan Isaacs: Songs
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishi...
(+)
Baritone Horn TC,Vocal Solo,Voice - SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishing #2803929. Published by Musik Fabrik Music Publishing (A0.533384). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95 ≈
$22.82
Sonata for english horn/oboe and piano, by Nelly LiPuma
Sonata for english horn/oboe and piano, by Nelly LiPuma
#
Hautbois, Piano (duo)
#
Nelly LiPuma
#
Sonata for english horn/oboe a
#
Musica Nuova
#
SheetMusicPlus
Instrumental Duet,Piano English Horn,Instrumental Duet,Oboe,Piano - SKU: A0.988008 Composed by Nelly LiPuma. Concert,Contemporary,Graduation,Standards,W...
(+)
Instrumental Duet,Piano English Horn,Instrumental Duet,Oboe,Piano - SKU: A0.988008 Composed by Nelly LiPuma. Concert,Contemporary,Graduation,Standards,World. Score and parts. 1 pages. Musica Nuova #2836821. Published by Musica Nuova (A0.988008). Sonata for english horn/oboe and pianoComposer: Nelly LiPumaYoutubelink: https://youtu.be/YBYmYi2ITrgThe Sonata for english horn/oboe and piano is in two movements: Lento-Veloce. The english horn plays in the first mov. which ends with an octave on the piano that attacca the Veloce and the english horn changes in oboe. The theme of the Veloce is characterized from a strong rhythmyc incisivity. It appears the first time in the oboe in E min. frigio while the piano plays different chords in sixteenths creating an always changing colors effects. Different motives appears now at the oboe then at the piano in a costant dialog. The frigian theme with its strong rythmicity is asserted in unisono from both instruments ending the piece with a sf ff on the last note!
$25.00 ≈
$33.66
Celtiberian Fantasy For Violin And Cello
Celtiberian Fantasy For Violin And Cello
#
Violon, Violoncelle (duo)
#
INTERMÉDIAIRE
#
Luis Anjos Teixeira
#
Celtiberian Fantasy For Violin
#
Luis Anjos Teixeira
#
SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.889441 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score and parts. 19 pages. Luis An...
(+)
String Ensemble - Level 3 - SKU: A0.889441 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score and parts. 19 pages. Luis Anjos Teixeira #4765307. Published by Luis Anjos Teixeira (A0.889441). Celtiberian Fantasy For Violin And Cello Celtiberian Fantasy was composed while righting a finale for the Princess of Sintra, both pieces are „sisters. To the last note of „The Princess Of Sintra follows the first of the „Celtiberian Fantasy. Together with the „Celtiberian Dance as an Intro all this 3 pieces can be performed one after the other without interruption. Some interpretation symbols where used in the score, they are mere personal suggestions for a performance. Most of the score is left to the interpretation of the artists involved, particularly the use of fingering. The bowing is very often simply used as a reference to musical legato. The staccato is meant to shorten the length of the notes to half of its duration and is often used to simplify the righting and the reading of the score. The piece is not difficult but it requires focused endurance and some practice on certain passages. Once learned you will never forget it. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. Feel Free to apply in this piece the Art and technic that expresses entirely your individual skills and taste. Have fun! It is a very flexible piece that can be used in all kinds of events. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$11.96 ≈
$16.10
The Old Palmer Song
The Old Palmer Song
#
Chorale SATB
#
FACILE
#
the time the rush was over, th
#
Traditional
#
Sandra Milliken
#
The Old Palmer Song
#
Sandra Milliken
#
SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.774724 Composed by Traditional. Arranged by Sandra Milliken. Folk,World. Octavo. 14 pages. Sandra Milliken #3873...
(+)
Choral Choir (SATB) - Level 2 - SKU: A0.774724 Composed by Traditional. Arranged by Sandra Milliken. Folk,World. Octavo. 14 pages. Sandra Milliken #3873279. Published by Sandra Milliken (A0.774724). The Old Palmer Song is a favourite Australian folk song that is meant to be sung in a rollicking style that reflects the excitement and anticipation of hardy Australian colonials setting out in search of gold. Following hard on the heels of the great California gold rushes (1848 – 1855) came the discovery of payable quantities of gold in Australia. The first gold rush in Australia began in New South Wales in May 1851 after prospector Edward Hargraves discovered gold near Orange, at a site he called Ophir. Other discoveries quickly followed, including those at Ballarat and Bendigo in the colony of Victoria. Then came Rosewood and Gympie (1867) in Queensland; the Gawler region in South Australia in 1868; and Halls Creek (1885), Kalgoorlie and Coolgardie (1893) in Western Australia. One of Australia’s richest alluvial goldfields was that of the Palmer River in far north Queensland. The rush to the Palmer began in 1873 and lasted for about three years. The goldfields were nearly 100 miles inland from the small coastal settlement of Cooktown and the early prospectors had a hard time of it just getting to the field. Leaving Cooktown they crossed the coastal mangroves, then on through dense tropical rainforest, into the more open eucalypt forest beyond and then across the dry, inhospitable and rugged country of the hinterland dissected by wide and deep rivers. And always there was the risk of meeting with fierce resistance from the Aborigines whose tribal land they were travelling through. At the height of the rush there were around 35,000 prospectors on the Palmer (including a great many Chinese). By the time the rush was over, the Palmer had yielded over 100 tons of gold! The Old Palmer Song is set to the tune of Ten Thousand Miles Away, a shore ballad/sea shanty that probably originated in Ireland in the early 19th Century.
$2.20 ≈
$2.96
<
1
26
51
76
First, Last and Always
