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Move Me Again
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Piano Concerto No. 1 - FIRST movement [score and parts]
Piano Concerto No. 1 - FIRST movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - FIRST m
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00 ≈
29.48€
Piano Concerto No. 1 - SECOND movement [score and parts]
Piano Concerto No. 1 - SECOND movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - SECOND
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00 ≈
29.48€
Piano Concerto No. 1 - THIRD movement [score and parts]
Piano Concerto No. 1 - THIRD movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Contemporain
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - THIRD m
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Mar...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00 ≈
29.48€
It Moves Me
It Moves Me
#
Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
#
Andrew Mc Donald
#
It Moves Me
#
Andrew Mc Donald
#
SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.841661 Composed by Andrew Mc Donald. Christian,Gospel,Pop. Score. 5 pages. Andrew Mc Donald (Macka Records) #34732...
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Piano,Vocal,Voice - Level 4 - SKU: A0.841661 Composed by Andrew Mc Donald. Christian,Gospel,Pop. Score. 5 pages. Andrew Mc Donald (Macka Records) #3473271. Published by Andrew Mc Donald (Macka Records) (A0.841661). It Moves Me is a song about being on the road of life where we can feel lost. This is where the word of God can put us back on the right track again. Thy word is a lamp unto my feet and a light unto my path.
$4.99 ≈
4.46€
Miscellany, 7 Short Movements For Piano Solo
Miscellany, 7 Short Movements For Piano Solo
#
Piano seul
#
AVANCÉ
#
PIano - Sebastian Kurz
#
Miscellany, 7 Short Movements
#
Geraldine
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Perio...
(+)
Piano Solo - Level 5 - SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Period. Score. 27 pages. Geraldine (Denny) Green at Oakmountmusic #903031. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1314290). Written in 2008, Miscellany, 7 short movements for solo piano, was Commissioned by conductor/pianist Anthony Davie.Duration: approx 15 minutes in total.Inspired by friends, family and general life experiences, this set of short pieces encompasses a range of moods; from Romantic and melodic to comical and dissonant.Movement 1. Didi – Didi was a very unique and special friend for many years. She gave out great spiritual strength and insight into this very confusing world in which we all live. She was a real tower of quiet, gentle strength.Movement 2. Brew! – This movement was inspired directly by the Brewing Industry. It strives to depict the hustle and bustle of a busy, working brewery and the the many hilarious, fabulous people I met during my three years in the beer-making industry.Movement 3 – Convent Cherub – This little piece began life as the opening title music of a film score I worked on while at college. The film itself, entitled My Brother Rob, was made by Alison Hilder, a student director at the Harrow School of Film. The story told of a young boy traumatised by a convent boarding school up-bringing. I have felt for many years that this little main theme has needed an alternative home, as much film music is never played again.Movement 4 – Megan – This movement comes directly from my wonderful and beautiful daughter, who was 5 years old at the time of the writing of this piece. It seeks to express her wild vibrance, eternal cheekiness, infinite energy, sparkle and the utter fearlessness of youth.Movement 5 – Edward – This music is for my gorgeous little son, who has Down’s Syndrome, and was only 3 at the time of the writing of this piece. The opening came to me moments after the doctor had confirmed Edward had Down’s, when he was only 6 hours old. The music tries to convey the fear of the unknown, huge unconditional love and moments of uncertainty alternated by washes of strength. And yet, all through the fear the resolve to forever love and stay strong always wins.Movement 6 – Indifference – The opening 4 notes are the core of this movement, and the piece is built around and from them. This music is an observation of deep, rumbling frustration at the indifference growing in our fast moving, modern society.Movement 7 – “Wee Us†– This movement expresses family triumph, the gifts of life and love, and the glory of boundless, wild, youthful energy. This tune has not yet run its course. It will be back!
$12.00 ≈
10.72€
Let Me Love from For a Breath of Ecstasy (Downloadable Choral Score)
Let Me Love from For a Breath of Ecstasy (Downloadable Choral Score)
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Chorale SATB
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INTERMÉDIAIRE
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Michael John Trotta
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Let Me Love from For a Breath
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Galaxy Music Corporation - Digital
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SheetMusicPlus
SATB choir, oboe, and string quartet or piano - Medium - SKU: MQ.1.3529-E Composed by Michael John Trotta. Instrument part. 13 pages. Duration 4 minutes...
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SATB choir, oboe, and string quartet or piano - Medium - SKU: MQ.1.3529-E Composed by Michael John Trotta. Instrument part. 13 pages. Duration 4 minutes, 14 seconds. Galaxy Music Corporation - Digital #1.3529-E. Published by Galaxy Music Corporation - Digital (MQ.1.3529-E). English.The final movement from For a Breath of Ectasy begins rhythmically as the first movement did. In fact, the writing touches on moods and motives in many of the other six movements, although the text here is a different poem. Yet the movement stands perfectly well on its own, and the poem is sublime: Oh, let me love with all my strength, careless if I am loved again. Duration: 4:14Oboe part included.
$2.85 ≈
2.55€
He Will Lead Me Home
He Will Lead Me Home
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin Longley
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Kevin Longley
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He Will Lead Me Home
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Kevin Longley
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1281185 By Kevin Longley. By Kevin Longley. Arranged by Kevin Longley. Christian,Easter,Lent,Praise & Worship,Sacr...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1281185 By Kevin Longley. By Kevin Longley. Arranged by Kevin Longley. Christian,Easter,Lent,Praise & Worship,Sacred. Score. 9 pages. Kevin Longley #872527. Published by Kevin Longley (A0.1281185). He Will Lead Me Home (choral church anthem composed in 2023)The InspirationA few Easter seasons ago, during one of our Tuesday Choir rehearsals, we were preparing for “Good Shepherd Sundayâ€. Diane our Choir director commented “there are very few Good Shepherd pieces to choose fromâ€. One of our sopranos replied “Let's write our ownâ€. I made note of it and this past year finally found the time and inspiration to give it a try. I did my usual research on the subject matter and then found a drawing of a Shepherd standing at the top of a hill with his sheep lined up behind him. Leaning on his staff the Shepherd was contemplating the safest route home. Upon his decision he looked back and called to his sheep. The MusicThe music begins with a piano introduction depicting the Shepherd standing at the top of the hill contemplating the safest route home, as noted earlier. Stately in nature it features a simple melodic idea, played by the right hand, which is then answered by a series of majestic chords. This “back and forth†continues until it reaches its climax at a D flat major chord against a slur from a high G to F. At this point we hear what will be a reoccurring chordal theme of C major to F major and later C minor to F major. The accompaniment begins, now in three quarter time signifying the sheep beginning to move in response to the shepherds call. The verse melody is drawn from the opening three notes of the introduction but with a different rhythm and repeats it self with underlying harmonic changes. The melody and chord structure is somewhat impressionistic in nature. Lyrically a contrast is drawn between how the Shepherd (Jesus) provides for his sheep (followers) and how God provides for the “sheep†(animals) through nature. As the verse comes to an end we are lead to the realization that “the shepherd is the Lord our King, the Good Shepherd Kingâ€. The refrain begins with the tenor continuing to solo on the main melody. â€He Will Lead Home†is realized and proclaimed! A soprano descant is added for contrast. Harmonically the music makes use of the various minor key options, “melodic, harmonic and naturalâ€. The refrain concludes proclaiming “The Good Shepherds the Way He's our Life!â€. The second verse shadows the thought pattern of verse one leading to the refrain once more but this time a bridge is introduced to add drama with the piano playing a significant role. A return to the refrain is varied with the tenor singing a portion of it against softly played chords; but then resumes its rhythmic drive to its ultimate conclusion by repeating “the Good Shepherds the Way He's our Life!â€.Program NotesVoicing can be varied based on what types of singers are available. For example this could be sung by 2 tenors with one singing the descant down an octave. Finally as noted in the score, the intro is optional though I prefer it be played; the shepherd contemplating a safe route is important in the music with its contrast to the verse music and important in our life of faith.Â
$1.99 ≈
1.78€
To Rise Again
To Rise Again
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Trombone et Piano
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AVANCÉ
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Alex Schwarte
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To Rise Again
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Alex Schwarte
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SheetMusicPlus
Piano,Trombone - Level 5 - SKU: A0.1455537 By Alex Schwarte. By Alex Schwarte. 21st Century,Classical,Contemporary,New Age. Score and part. 26 pages. Al...
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Piano,Trombone - Level 5 - SKU: A0.1455537 By Alex Schwarte. By Alex Schwarte. 21st Century,Classical,Contemporary,New Age. Score and part. 26 pages. Alex Schwarte #1034623. Published by Alex Schwarte (A0.1455537). I have been working on To Rise Again for about a year since the passing of several close family members. As with any long-term struggle, some days are easier than others, and some days it is hard to do much of anything at all. Walking through hard days, this piece is about mental health, the struggles that you face, and on the most difficult days, what it takes to rise again. Despair: This movement opens with what I call the despair motif. This motif consists of seven notes and will return throughout the piece, reminding us of uncertainty and darkness. The middle of the movement includes a build-up leading to a complete panic attack, featuring cluster chords in the piano and extreme volumes and articulation in the trombone. Finally, a quasi-march leads us to the end, where we sink to the lowest and angriest point. Support: This tranquil and shimmering movement evokes the other side of grief and depression: the people around you. In the dark moments, these people can become pillars of aid and light. Even with support, there are moments of darkness and uncertainty, but support will always be there. Musically, this movement features numerous color tones and aims to create an emotionally understanding and steady atmosphere. The opening trombone line (the support motif) represents tender support and is used numerous times in the next movement. Overcome: The final movement opens with a haunting atmosphere created by plucked piano strings. The first normal piano entrance is the Rumbling motif: the feeling of the soul exerting its will to be free but not quite making it. Throughout the rest of the movement, the trombone and piano go back and forth, with the piano emphasizing support and the trombone wallowing in despair. Eventually, the trombone begins to come around and rise. Concluding with a triumphant feeling of release, the mind is lifted from despair, free and open to whatever life brings next. Mental health looks different for everyone, and I want to reflect that in this composition. For all future performances, the performers can make significant musical changes to better reflect their own challenges. This could be as small as a different tempo or as large as a completely different style and articulation. To Rise Again is very personal to me, and I want every performance of it to be just as personal.Playlist: https://www.youtube.com/playlist?list=PLDoVD8lbKulOjUbvdKcc9phxPNOgYLDuh.
$40.00 ≈
35.73€
Regret Not Me
Regret Not Me
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Chorale SATB
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AVANCÉ
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Nicholas White
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but I shall not be there
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Regret Not Me
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Nicholas White Music
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - SKU: A0.1256872 Composed by Nicholas White. 21st Century,A Cappella,Classical,Traditional. Octavo. 12 pages. Nich...
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Choral Choir (SATB divisi) - Level 5 - SKU: A0.1256872 Composed by Nicholas White. 21st Century,A Cappella,Classical,Traditional. Octavo. 12 pages. Nicholas White Music #850259. Published by Nicholas White Music (A0.1256872). A challenging, unaccompanied, pastoral setting of Thomas Hardy's poem, scored for SATB divisi featuring a high soprano!Regret not me;   Beneath the sunny treeI lie uncaring slumbering peacefully.    Swift as the light   I flew my faery flight;Ecstatically I moved, and feared no night.    I did not know   That heydays fade and go,But deemed that what was would be always so.    I skipped at morn   Between the yellowing corn,Thinking it good and glorious to be born.    I ran at eves   Among the piled-up sheaves,Dreaming, 'I grieve not, therefore nothing grieves.'    Now soon will come   The apple, pear, and plumAnd hinds will sing, and autumn insects hum.    Again you will fare   To cider-makings rare,And junketings; but I shall not be there.    Yet gaily sing   Until the pewter ringThose songs we sang when we went gipsying.    And lightly dance   Some triple-timed romanceIn coupled figures, and forget mischance;    And mourn not me   Beneath the yellowing tree;For I shall mind not, slumbering peacefully.
$2.00 ≈
1.79€
After You Hear Me Out from Glory Denied (Downloadable)
After You Hear Me Out from Glory Denied (Downloadable)
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Contemporain
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Tom Cipullo
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After You Hear Me Out from Glo
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Soprano voice and piano - Medium - SKU: MQ.8609D-2E Composed by Tom Cipullo. 21st Century. Secular. 5 pages. E. C. Schirmer Music Company - Digital #860...
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Soprano voice and piano - Medium - SKU: MQ.8609D-2E Composed by Tom Cipullo. 21st Century. Secular. 5 pages. E. C. Schirmer Music Company - Digital #8609D-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8609D-2E). Although these arias are sung by the character Alyce, in the production they represent the younger and older versions of herself and are played by two different singers. Young Alyce sings My Darling Jim, writing a letter to her husband prior to his being taken prisoner during the Vietnam War. The first aria captures emotions through a brief snapshot of everyday life. The second takes place after his return from captivity. Alyce has moved on with her life with another man. The aria is painful and moving as she suggests that, while he can see the kids, he certainly doesn't have to see her face ever again.Contents:1. My Darling Jim2. After You Hear Me Out.
$5.00 ≈
4.47€
Jesus Loves Me (SATB, piano)
Jesus Loves Me (SATB, piano)
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Bradley Sowash
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Bradley Sowash
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Jesus Loves Me
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Bradley Sowash
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1198518 By Bradley Sowash. By William B. Bradbury. Arranged by Bradley Sowash. Christian,Jazz,Praise & Worship,R...
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Choral Choir (SATB) - Level 3 - SKU: A0.1198518 By Bradley Sowash. By William B. Bradbury. Arranged by Bradley Sowash. Christian,Jazz,Praise & Worship,Religious,Sacred. Octavo. 16 pages. Bradley Sowash #797661. Published by Bradley Sowash (A0.1198518). Classic hymn set to a contemporary groove SATB, pianoThis anthem begins with the piano and soloist laying out a quiet slow gospel waltz. However, when the choir joins in with an enthusiastic “Yes! Jesus loves me,†the congregation knows this is not your Grandma’s version of the Sunday school classic. The work continues in a jazz waltz feel until a sudden stop when the piano sets up a funky back beat feel and the music really starts to kick. A key change near the end moves the energy up again for a really big ending. It will take more than one rehearsal to put it together but it’s worth it to see their smiles of appreciation.
$1.99 ≈
1.78€
Jesus Loves Me - Jazz Quintet and Choir
Jesus Loves Me - Jazz Quintet and Choir
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Chorale SATB
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INTERMÉDIAIRE
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Bradley Sowash
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Jesus Loves Me - Jazz Quintet
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Bradley Sowash
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.750121 Arranged by Bradley Sowash. Christian,Jazz,Sacred. Octavo. 36 pages. Bradley Sowash #24261. Published by ...
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Choral Choir (SATB) - Level 3 - SKU: A0.750121 Arranged by Bradley Sowash. Christian,Jazz,Sacred. Octavo. 36 pages. Bradley Sowash #24261. Published by Bradley Sowash (A0.750121). Classic hymn set to a contemporary grooveSATBIncludes a license to make as many copies as you like.This anthem begins with the piano and soloist laying out a quiet slow gospel waltz. However, when the choir joins in with an enthusiastic Yes! Jesus Loves Me, the congregation knows this is not your Grandma’s version of the Sunday school classic. The work continues in a jazz waltz feel until a sudden stop when the piano sets up a funky back beat feel and the music really starts to kick. A key change near the end moves the energy up again for a really big ending. It will take more than one rehearsal to put it together but it’s worth it to see their smiles of appreciation. (Includes a separate piano part for easy page turning.).
$14.99 ≈
13.39€
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
17.87€
Say that again!
Say that again!
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Ensemble de cuivres
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INTERMÉDIAIRE
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Lon W
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Say that again!
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LCS Productions
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.851847 Composed by Lon W. Chaffin. 20th Century,Classical,Instructional. Score and parts. 40 pages. LCS Productions #...
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Brass Ensemble - Level 3 - SKU: A0.851847 Composed by Lon W. Chaffin. 20th Century,Classical,Instructional. Score and parts. 40 pages. LCS Productions #458022. Published by LCS Productions (A0.851847). A fun two-movement work for brass quintet that demonstrates the traditional sonata/allegro and minuet and trio forms. The first movement is entitled, Have you met my sonata? The title of the second movement is, Excuse me. Do you have a minuet?.
$15.95 ≈
14.25€
This Is Me
This Is Me
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Chorale SSAA
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INTERMÉDIAIRE/AVANCÉ
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Benj Pasek and Justin Paul
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Kay Bromert
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This Is Me
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Kay Bromert
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SheetMusicPlus
Choral Choir (SSAA) - Level 4 - SKU: A0.726970 Composed by Benj Pasek and Justin Paul. Arranged by Kay Bromert. A Cappella,Contemporary. Octavo. 10 page...
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Choral Choir (SSAA) - Level 4 - SKU: A0.726970 Composed by Benj Pasek and Justin Paul. Arranged by Kay Bromert. A Cappella,Contemporary. Octavo. 10 pages. Kay Bromert #3541413. Published by Kay Bromert (A0.726970). From the hit movie The Greatest Showman', rhythmic interest, melody moves from one voice to another and back again, SSAA, A Cappella, barbershop style arrangement, arranged in D Major, 10 pages.
$12.99 ≈
11.60€
This Is Me
This Is Me
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Chorale SSAA
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INTERMÉDIAIRE/AVANCÉ
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Benj Pasek and Justin Paul
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Kay Bromert
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This Is Me
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Kay Bromert
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SheetMusicPlus
Choral Choir (SSAA) - Level 4 - SKU: A0.726979 Composed by Benj Pasek and Justin Paul. Arranged by Kay Bromert. A Cappella. Octavo. 10 pages. Kay Bromer...
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Choral Choir (SSAA) - Level 4 - SKU: A0.726979 Composed by Benj Pasek and Justin Paul. Arranged by Kay Bromert. A Cappella. Octavo. 10 pages. Kay Bromert #3905937. Published by Kay Bromert (A0.726979). From the hit movie The Greatest Showman', rhythmic interest, melody moves from one voice to another and back again, voiced for young women, SSAA, A Cappella, barbershop style arrangement, arranged in E Major, 10 pages.
$1.99 ≈
1.78€
This Is Me
This Is Me
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Chorale SSAA
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INTERMÉDIAIRE/AVANCÉ
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Benj Pasek and Justin Paul
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Kay Bromert
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This Is Me
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Kay Bromert
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SheetMusicPlus
Choral Choir (SSAA) - Level 4 - SKU: A0.726987 Composed by Benj Pasek and Justin Paul. Arranged by Kay Bromert. A Cappella,Contemporary. Octavo. 10 page...
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Choral Choir (SSAA) - Level 4 - SKU: A0.726987 Composed by Benj Pasek and Justin Paul. Arranged by Kay Bromert. A Cappella,Contemporary. Octavo. 10 pages. Kay Bromert #4291157. Published by Kay Bromert (A0.726987). From the hit movie The Greatest Showman', rhythmic interest, melody moves from one voice to another and back again, SSAA, A Cappella, barbershop style arrangement, arranged in D Major, 10 pages.
$1.99 ≈
1.78€
Jesus Loves Me - Bradley Sowash
Jesus Loves Me - Bradley Sowash
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Piano seul
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AVANCÉ
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Musique Sacrée
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Bradley Sowash
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Bradley Sowash
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Jesus Loves Me - Bradley Sowas
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Bradley Sowash
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SheetMusicPlus
Piano - Level 5 - SKU: A0.1238983 By Bradley Sowash. By Anna Bartlett Warner. Arranged by Bradley Sowash. Christian,Contemporary,Jazz,Praise & Worship,S...
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Piano - Level 5 - SKU: A0.1238983 By Bradley Sowash. By Anna Bartlett Warner. Arranged by Bradley Sowash. Christian,Contemporary,Jazz,Praise & Worship,Sacred. Full Performance. Duration 242. Bradley Sowash #834378. Published by Bradley Sowash (A0.1238983). From Bradley Sowash’s “We Gather Together†solo piano recorded album and associated sheet music (also available here).Everyone enjoys this uplifting arrangement.Just because this tune has it roots as a Sunday school song doesn’t mean it has to sound basic in worship. This arrangement begins with a quiet slow gospel waltz that continues into a jazz waltz feel until a sudden stop when the piano sets up a funky back beat feel and the music really starts to kick. A key change near the end moves the energy up again for a really big ending.Learn more about this artist at https://bradleysowash.com.
$1.99 ≈
1.78€
Remember Me from SIMPLE SONGS
Remember Me from SIMPLE SONGS
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Joshua Allen
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Remember Me from SIMPLE SONGS
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Joshua Allen Music
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.941049 Composed by Joshua Allen. Contemporary,Standards. Score. 4 pages. Joshua Allen Music #4716371. Published by Joshua...
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Piano Solo - Level 4 - SKU: A0.941049 Composed by Joshua Allen. Contemporary,Standards. Score. 4 pages. Joshua Allen Music #4716371. Published by Joshua Allen Music (A0.941049). Remember Me is the fifth title in a collection of solo piano pieces called SIMPLE SONGS. Remember Me is inspired by separation from loved ones, both brief and lasting. The piece begins simply enough, but quickly grows in complexity with areas of two-against three that add to the beauty and expressive nature of this piece. This movement is suitable for advancing pianists and is approximately 3 minutes and 27 seconds in length.SIMPLE SONGS is a collection of original compositions for solo piano simple in construction, varied in form and content, and vastly enjoyable to perform and hear. Each title is available separately and as a collection. For other titles from this collection or other works by this composer/arranger, please visit https://www.sheetmusicplus.com/publishers/published-by-joshua-allen-music/9059
$3.50 ≈
3.13€
Move Me Again by Phil Wickham - Piano/Vocal/Chords
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Piano, Voix
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Christian contemporain
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Gospel Spirituel
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Phil Wickham
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Move Me Again
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Musicnotes
Performed by: Phil Wickham: Move Me Again Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (th...
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Performed by: Phil Wickham: Move Me Again Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords, instruments: Voice;Voice 2;Piano; 4 pages -- Gospel~~CCM~~Christian~~Praise & Worship
$5.50 ≈
4.91€
Take Me Home, Country Roads
Take Me Home, Country Roads
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Trio à Cordes: violon, alto, violoncelle
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FACILE
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Rock
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John Denver
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Zene Strings
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Take Me Home, Country Roads
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Zene Strings
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SheetMusicPlus
String Ensemble,String Trio Cello, Viola, Violin - Level 2 - By John Denver. By Taffy Nivert, John Denver, and Bill Danoff. Arranged by Zene Strings...
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String Ensemble,String Trio Cello, Viola, Violin - Level 2 - By John Denver. By Taffy Nivert, John Denver, and Bill Danoff. Arranged by Zene Strings. Rock. Score and parts. 14 pages. Zene Strings #4623091. Published by Zene Strings
"Take Me Home, Country Roads", also known as "Take Me Home" or "Country Roads", is a song written by Bill Danoff, Taffy Nivert, and John Denver. This arrangement is for string trio, and can be played by either two violins and a cello, or a violin, viola and cello. The middle part is included in both treble (V2) and alto (viola) clef, giving you greater performance flexibility.
The arrangement has lots of ornamentation in the form of eighth note and sixteenth note movement, creating a sense of flow against the melody.
$12.99 ≈
11.60€
Dreams - Score Only
Dreams - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan Guerra González
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Dreams - Score Only
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Juan Carlos Guerra Gonzalez
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062...
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Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams†is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat†played by the bass drum and timpani, then a more “stressful†section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental†style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González
$159.99 ≈
142.92€
Poem For Carlita (viola part - vln, vla, cel)
Poem For Carlita (viola part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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therefore there is no return
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202197. Published by Mark O'Connor Musik International (A0.861805). Poem For Carlita (viola part – vln, vla, cel) MO142CViola Part (score and parts available)Music by Mark O’Connor6 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used tocalm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142CCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
4.02€
Poem For Carlita (violin part - vln, vla, cel)
Poem For Carlita (violin part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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therefore there is no return
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Connor Musik International #6202181. Published by Mark O'Connor Musik International (A0.861803). Poem For Carlita (violin part – vln, vla, cel) MO142BViolin Part (score and parts available)Music by Mark O’Connor7 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used to calm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142BCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
4.02€
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