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Two Visions
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Vous avez sélectionné:
Two Visions
Partitions à imprimer
97 partitions trouvées
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Two Visions (high voice, oboe, and piano)
Two Visions (high voice, oboe, and piano)
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Voix haute
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sy Brandon
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Two Visions
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Sy Brandon
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SheetMusicPlus
High Voice,Vocal Solo - Level 4 - SKU: A0.755185 Composed by Sy Brandon. 20th Century,Contemporary. 8 pages. Sy Brandon #3410307. Published by Sy Brando...
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High Voice,Vocal Solo - Level 4 - SKU: A0.755185 Composed by Sy Brandon. 20th Century,Contemporary. 8 pages. Sy Brandon #3410307. Published by Sy Brandon (A0.755185). The visions of these songs are of nature and the lyrical quality and playfulness of the melody, harmony and rhythm create an atmospheric setting. The poems are by David Lubin. The text is used with the permission of the poet. While the poems are not haiku poems, the are similar to haiku poetry in their brevity and concentration of thought.
$7.99 ≈
7.36€
Two Visions
Two Visions
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Dario Duarte
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Two Visions
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T.U.X. People's Music
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SheetMusicPlus
Percussion Duet - Level 5 - SKU: A0.1405280 Composed by Dario Duarte. Contemporary,Contest,Festival. Score. 28 pages. T.U.X. People's Music #988326. Pub...
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Percussion Duet - Level 5 - SKU: A0.1405280 Composed by Dario Duarte. Contemporary,Contest,Festival. Score. 28 pages. T.U.X. People's Music #988326. Published by T.U.X. People's Music (A0.1405280). Illuminating in both color and sound, this two-movement work provides both thoughtfulness and wonder within its interweaving textures.
$25.00 ≈
23.02€
Prayer … and Visions ; Symphonic Transfiguration on Two Themes, for Brass Band - Score Only
Prayer … and Visions ; Symphonic Transfiguration on Two Themes, for Brass Band - Score Only
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Ensemble de cuivres
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INTERMÉDIAIRE/AVANCÉ
#
Ken'ichi Masakado
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Prayer … and Visions ;
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in-Just-music
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.1219242 Composed by Ken'ichi Masakado. Contemporary,Contest,Festival. 29 pages. In-Just-music #815639. Published by i...
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Brass Ensemble - Level 4 - SKU: A0.1219242 Composed by Ken'ichi Masakado. Contemporary,Contest,Festival. 29 pages. In-Just-music #815639. Published by in-Just-music (A0.1219242). Prayer … and Visions : Symphonic Transfiguration on Two Themesfor Brass Band (British style) Score only : If you need parts, please contact the compoeser via web page or facebook.Composed by Ken’ichi MasakadoDuration : ca. 7’10â€Third Place Winner at the Red Maple Music Competition (Winter Competition 2022) held in Canada, Composition Category - College Students and Professional Musicians 18+, Advanced (Highly competitive) difficulty level.
$22.99 ≈
21.17€
Maple Leaf Rag arranged for two-pianos
Maple Leaf Rag - two-pianos
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2 Pianos, 4 mains
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AVANCÉ
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Ragtime
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Scott Joplin
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Cedric N
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Maple Leaf Rag - two-pianos
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Cedric N Elmer
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.968727 Composed by Scott Joplin. Arranged by Cedric N. Elmer. 20th Century,Concert,Ragtime. Score. 3 pag...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.968727 Composed by Scott Joplin. Arranged by Cedric N. Elmer. 20th Century,Concert,Ragtime. Score. 3 pages. Cedric N Elmer #4855357. Published by Cedric N Elmer (A0.968727). Two-piano arrangement transcribed from a piano roll performance with some revisions - 1975.ASCAP.
$4.99 ≈
4.59€
Sonata for Two Pianos, I. Allegro con Spirito, K.448 (arr. Owen Meldon)
Sonata for Two Pianos, I. Allegro con Spirito, K.448 (arr. Owen Meldon)
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Owen Meldon
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Sonata for Two Pianos, I. Alle
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Owen Meldon
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SheetMusicPlus
Percussion Quartet Marimba - Level 5 - SKU: A0.1214857 Composed by Wolfgang Amadeus Mozart. Arranged by Owen Meldon. Classical. 37 pages. Owen Meldon #8...
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Percussion Quartet Marimba - Level 5 - SKU: A0.1214857 Composed by Wolfgang Amadeus Mozart. Arranged by Owen Meldon. Classical. 37 pages. Owen Meldon #811788. Published by Owen Meldon (A0.1214857). I was a freshman in high school and just figured out how to use MuseScore. With a holiday concert on the horizon, I wanted to put together a fun arrangement of a classical piece for four percussionists. I settled on Mozart’s Sonata for Two Pianos in D Major (fun fact: this piece has been studied extensively and has proven epilepsy-combatting power!*) and broke down the four piano hands into four marimba parts. In December 2016, I premiered the first iteration of this arrangement with the help of three of my peers; years later, I revisited this arrangement and gave it some much-needed revisions. I also finished arranging the second half of the original, which I couldn’t do in 2016 as the first arrangement had to be fairly short. This is the arrangement in its new finished version, which definitely looks and sounds a lot better than the first. We all start somewhere… *Lin, Lung-Chang, et al. “The Long-Term Effect of Listening to MOZART K.448 Decreases Epileptiform Discharges in Children with Epilepsy.†Instrumentation:Marimba I (4.3 octave marimba minimum)Marimba II (4.3 octave marimba minimum)Marimba III (5.0 octave marimba)Marimba IV (5.0 octave marimba)Duration: c. 6'
$29.99 ≈
27.61€
Jesus, Keep Me Near The Cross (String Trio: Two Violins, Violoncello)
Jesus, Keep Me Near The Cross (String Trio: Two Violins, Violoncello)
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Trio à Cordes: 2 violons, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Christian contemporain
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Musique Sacrée
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William H
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Cathy Stamegna
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Jesus, Keep Me Near The Cross
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Cathy Stamegna
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SheetMusicPlus
String Ensemble,String Trio Cello,Violin - Level 4 - SKU: A0.1184820 Composed by William H. Doane. Arranged by Cathy Stamegna. Blues,Christian,Contempor...
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String Ensemble,String Trio Cello,Violin - Level 4 - SKU: A0.1184820 Composed by William H. Doane. Arranged by Cathy Stamegna. Blues,Christian,Contemporary,Easter,Traditional. Score and parts. 10 pages. Cathy Stamegna #784495. Published by Cathy Stamegna (A0.1184820). An expressive Gospel rendition of Jesus, Keep Me Near the Cross (a.k.a. “Near The Crossâ€) has been newly-arranged as an Instrumental Trio.  The audience will be moved by its soulful rhythms and harmonies.  Although it is a slower 6/8 tempo, there are melodic embellishments, grace notes, triplets, and subdivisions of the eighth note into sixteenths.  A four-measure transition creates a modulation up a Perfect fifth.  Appropriate as a Lent, Holy Week, Easter solo, worship, concert, contest/festival, or recital piece.  Adaptable to school or church settings.  Performance Time: 3:30.Â
$6.99 ≈
6.44€
Travelling Tales - Cantata for SATB choir and Youth Choir with piano (one or two players)
Travelling Tales - Cantata for SATB choir and Youth Choir with piano (one or two players)
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Chorale SATB
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INTERMÉDIAIRE
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Contemporain
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Alan Bullard
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Travelling Tales - Cantata for
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Colne Edition / BullardMusic
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1145254 Composed by Alan Bullard. Classical,Contemporary. Octavo. 36 pages. Colne Edition / BullardMusic #745523...
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Choral Choir (SATB) - Level 3 - SKU: A0.1145254 Composed by Alan Bullard. Classical,Contemporary. Octavo. 36 pages. Colne Edition / BullardMusic #745523. Published by Colne Edition / BullardMusic (A0.1145254). Travelling Tales: Tales of travel, in our imagination and in reality: mysterious travellers from unknown lands, journeys by train, by sea, and on horse-back, and visions of the future. Combining poems of the past with poems by today’s young people, the music of this accessible cantata is designed to appeal to all choirs and their audiences. The eight movements are scored for SATB choir and youth choir: the accompaniment is for either solo piano, or piano duet / two pianos, and optional percussion. Alan Bullard's choral works are performed worldwide, and many have been recorded and broadcast. He has a reputation for music that choirs enjoy performing, and which speaks directly to audiences. The Colne Choral Series contains a range of Bullard's pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.
$3.99 ≈
3.67€
Night Visions Nos. 1-8 - Flute & Piano Book
Night Visions Nos. 1-8 - Flute & Piano Book
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Flûte traversière et Piano
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INTERMÉDIAIRE
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James Michael Stevens
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James Michael Stevens
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Night Visions Nos. 1-8 - Flute
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James M Stevens Music ASCAP
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SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.518558 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Con...
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Flute,Piano - Level 3 - SKU: A0.518558 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Contemporary,New Age,Sacred. Score and part. 56 pages. James M Stevens Music ASCAP #129263. Published by James M Stevens Music ASCAP (A0.518558). This is a collection of 8 original flute and piano compositions written in the last two weeks of 2021. There is a separate flute parts in the score and the piano parts as seen can serve as independent solos. All of the piano accompaniment tracks are separately available at Sheet Music Plus and each piece is available separately as well on both Sheet Music Plus and Sheet Music Direct. The MP3 is of No. 7 - Darkness and the YouTube recording is No. 5 - Musings. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.
$17.99 ≈
16.56€
Night Visions Nos. 1-8 - Violin & Piano Book
Night Visions Nos. 1-8 - Violin & Piano Book
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Violon et Piano
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INTERMÉDIAIRE
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James Michael Stevens
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James Michael Stevens
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Night Visions Nos. 1-8 - Violi
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James M Stevens Music ASCAP
#
SheetMusicPlus
Piano,Violin - Level 3 - SKU: A0.518556 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Co...
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Piano,Violin - Level 3 - SKU: A0.518556 By James Michael Stevens. By James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Classical,Contemporary,New Age,Sacred. 56 pages. James M Stevens Music ASCAP #129261. Published by James M Stevens Music ASCAP (A0.518556). This is a collection of 8 original violin and piano compositions written in the last two weeks of 2021. There is a separate violin parts in the score and the piano parts as seen can serve as independent solos. All of the piano accompaniment tracks are separately available at Sheet Music Plus and each piece is available separately as well on both Sheet Music Plus and Sheet Music Direct. The MP3 is of No. 6 - Velvet Night and the YouTube recording is No. 5 - Musings. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.
$17.99 ≈
16.56€
Come, Thou Long-Expected Jesus - Full Orchestra
Come, Thou Long-Expected Jesus - Full Orchestra
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Orchestre
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INTERMÉDIAIRE
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Noël
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Rowland H Prichard
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Mark R Lewis
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Come, Thou Long-Expected Jesus
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Mark R Lewis
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1148784 Composed by Rowland H Prichard. Arranged by Mark R Lewis. Christmas,Holiday,Religious. Score and Parts. 35 pa...
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Full Orchestra - Level 3 - SKU: A0.1148784 Composed by Rowland H Prichard. Arranged by Mark R Lewis. Christmas,Holiday,Religious. Score and Parts. 35 pages. Mark R Lewis #748921. Published by Mark R Lewis (A0.1148784). Come, Thou Long-Expected Jesus is a lovely Advent hymn. The text was written by Charles Wesley and has been used in Advent services regularly since it was written in the 1740s. The text has been set to many tunes but the one used in this version is Hyfrydol, This tune was written by Rowland Prichard about 100 years after Wesley's text and is used extensively in many hymnals but especially for this particular text. This arrangement is for orchestra with optional 3-5 octave handbell choir. The handbell arrangement unusual in that the 4 octave version does require the use of the F3 bell. Other than that this is a relatively simple, if thickly orchestrated, arrangement. There are three sections using different methods of music making, the first is a fairly straightforward setting, the second focuses on short sounds in the melody which is also in the lower voices, and the third explores musical canon before bringing back a more traditional musical setting. There are two distinct parts for most instruments with a few splitting more. Flutes, trumpets, and trombones have three parts. The trombone 3 part is intended to be bass trombone but should be playable on regular trombone and if any section only has two divisions, the lower voice should have more players unless otherwise notated. That applies to flutes and trumpets as well. There are four horn parts that do not split. The timpani part should be playable on two drums with active pedaling to change notes mid-piece, although four drums is perfectly acceptable.
$34.99 ≈
32.22€
Christopher Simpson: Divisions in C major - two cellos
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2 Violoncelles (duo)
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INTERMÉDIAIRE
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Classique
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Christopher Simpson
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Virtualsheetmusic
Instantly printable sheet music by Christopher Simpson for two cellos of EASY/MEDIUM skill level. Contents: Cello Duets, 40 Original Violoncello Duets from 5 Centuries / classical...
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Instantly printable sheet music by Christopher Simpson for two cellos of EASY/MEDIUM skill level. Contents: Cello Duets, 40 Original Violoncello Duets from 5 Centuries / classical
$5.99 ≈
5.52€
Guitar Sonata No. 2 in C major
Guitar Sonata No. 2 in C major
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Jeremiah Lawson
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Guitar Sonata No. 2 in C major
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Jeremiah Lawson
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.985324 Composed by Jeremiah Lawson. Contemporary. Individual part. 6 pages. Jeremiah Lawson #6012227. Published by Jerem...
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Solo Guitar - Level 3 - SKU: A0.985324 Composed by Jeremiah Lawson. Contemporary. Individual part. 6 pages. Jeremiah Lawson #6012227. Published by Jeremiah Lawson (A0.985324). I composed my second guitar sonata in 2010. Guitar Sonata No. 2 in C major is six pages long, has two movements, and its estimated performance time is 8:30 to 9:00. The first movement, Inner Visions & Power Puffs, is a zippy sonata form opening with a 12-bar blues Theme 1. After a conventional modulating transition Theme 2 appears in the traditional key of G major. The title of the movement alludes to the Stevie Wonder album Innervisions and, of course, the Powerpuff Girls. The sonata form has a climax by way of three Bartok pizzicati on the dominant pedal to depict the girls defeating Mojo Jojo and putting him in jail. The second movement is a lullaby with variations. The lullaby is an original song I used to sing for one of my nieces to help her fall asleep. The complete sonata has been recorded by Daniel Estrem and is available on the Magnatune release Estrem Plays Lawson.http://magnatune.com/artists/albums/estrem-estremlawson/I played movement 1 at a Seattle Classic Guitar Society open mic in 2012 on a warm summer Friday night and there were kids playing and screaming in the background, which helped set the mood of the sonata rather than break it.
$5.00 ≈
4.60€
Bach: Brandenburg Concerto No. 3 for Saxophone Choir
Bach: Brandenburg Concerto No. 3 for Saxophone Choir
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Ensemble de saxophones
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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James M
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Bach: Brandenburg Concerto No.
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jmsgu3
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SheetMusicPlus
Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone - Level 4 - SKU: A0.1402348 Composed by Johann S...
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Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone - Level 4 - SKU: A0.1402348 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 149 pages. Jmsgu3 #985560. Published by jmsgu3 (A0.1402348). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$74.95 ≈
69.01€
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
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Classique
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Johann Sebastian Bach
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James M
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Bach: Brandenburg Concerto No.
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble - Level 4 - SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standar...
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Woodwind Ensemble - Level 4 - SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 70 pages. Jmsgu3 #984834. Published by jmsgu3 (A0.1401651). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$49.95 ≈
45.99€
Sullivan: The Lost Chord for Oboe & Piano
Sullivan: The Lost Chord for Oboe & Piano
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Hautbois, Piano (duo)
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INTERMÉDIAIRE/AVANCÉ
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for O
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jmsgu3
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SheetMusicPlus
Oboe,Piano - Level 4 - SKU: A0.549448 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred...
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Oboe,Piano - Level 4 - SKU: A0.549448 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497149. Published by jmsgu3 (A0.549448). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Requires sensitivity & dynamic control.Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$26.95 ≈
24.81€
Violin Concerto
Violin Concerto
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Ryan Wigglesworth
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Violin Concerto
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Schott Music - Digital
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SheetMusicPlus
2(2.pic).2.2.1.cbsn-2.2.0.0-timp-hp.cel-str violin and orchestra - SKU: S9.Q42526 Fur Violine und Orchester. Composed by Ryan Wigglesworth. This ...
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2(2.pic).2.2.1.cbsn-2.2.0.0-timp-hp.cel-str violin and orchestra - SKU: S9.Q42526 Fur Violine und Orchester. Composed by Ryan Wigglesworth. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 16 minutes. Schott Music - Digital #Q42526. Published by Schott Music - Digital (S9.Q42526). My Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the ‘journey’ of the piece. The work’s straightforward formal scheme consists of three movements (roughly fast–slow–fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centres on a twofold search. First there is the ongoing pursuit to ‘recapture’ the simple melodic material stated by the solo violin – accompanied by the harp’s bass register – during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue. The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabás Kelemen and the Hallé. The piece is dedicated, with admiration, to my friend Oliver Knussen. (Ryan Wigglesworth).
$30.99 ≈
28.53€
Carson Cooman: The Revelations of Divine Love (Metaphors from Sea and Sky) (2009) oratorio for sopra
Carson Cooman: The Revelations of Divine Love (Metaphors from Sea and Sky) (2009) oratorio for sopra
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: The Revelations
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (4-Part) - Level 5 - SKU: A0.535382 Composed by Carson Cooman. Contemporary,Sacred. Octavo. 187 pages. Musik Fabrik Music Publishing #30254...
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Choral Choir (4-Part) - Level 5 - SKU: A0.535382 Composed by Carson Cooman. Contemporary,Sacred. Octavo. 187 pages. Musik Fabrik Music Publishing #3025403. Published by Musik Fabrik Music Publishing (A0.535382). The Revelations of Divine Love (Metaphors from Sea and Sky) (2009), an oratorio for soprano,baritone, chorus, and chamber orchestra (0000.1100.1perc.strings), was commissioned for and is dedicated to the choir ofRoyal Holloway, University of London and Rupert Gough, director of choral music.The texts of the work are adapted primarily from the writings of Julian of Norwich (c. 1342–1416).Julian is best-known for her Sixteen Revelations of Divine Love (c. 1393), believed to be the first Englishlanguagebook written by a woman. Considered one of the most significant English mystics of alltime, Julian lived a reclusive life as an anchoress at the Church of St. Julian in Norwich, England (hertrue name is unknown). Regarded even during her lifetime as a spiritual authority, her optimisticvisions have been very influential in the years that have followed.Texts are also drawn from three additional sources: an excerpt from the Book of Margery Kempe(translated by Christopher M. Brunelle), two poems by English poet Robert Herrick (1591–1674),and a poem by the American writer Elizabeth Kirschner (b. 1955).The primary concept underlying this oratorio is the presence of two distinct discourses. One is asequence taken from Julian’s religious visions. The other is a sonic geography of Nantucket Island(located 30 miles off the coast of Massachusetts in the United States). This interconnected conceptwas inspired by the writings of the great Scottish poet George Mackay Brown (1921–1996). Livinghis entire life on Scotland’s Orkney Islands, Mackay Brown consistently explored the transpositionof religious imagery and events to his native landscape. (For example, the poem Apple-Basket, Apple-Blossom takes the story and structure of the Stations of the Cross, and maps them onto imagery ofdistinctly Orcadian character.)The landscape of Nantucket Island has been the driving force behind a large number of mycompositions for many years. In this oratorio, Julian’s visions are transposed from Norwich andmapped onto the Nantucket landscape. Each movement of the work thus has two parallel purposes:a setting of the visionary words, and a portrayal of a specific place in Nantucket’s geography. Muchof the music was planned in the actual locations. Since the soloists and choir must, by necessity, singthe words, a great deal of the landscape is left to the orchestra. Thus, the orchestra’s role issubstantially greater than simply accompaniment.Because of these two discourses, the oratorio is not intended as comprehensive working out of allaspects of Julian’s visions, nor does it use her own structure and sequence. Rather, it takes herbeautiful words, and the fundamentals of her visions, and attempts to create a new narrative andspiritual experience from them.This is the full score. The vocal score is available for sale. The parts are available on rental from the publisher.
$32.95 ≈
30.34€
Polish Religious Sheet Music Collection - 12 Songs [VERY EASY]
Polish Religious Collection - 12 Songs [VERY EASY]
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Piano Facile
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DÉBUTANT
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Polish Church Music and Polish
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Darek
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Polish Religious Collection -
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Darek
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.1359245 By Polish Church Music and Polish Religious Music. By Polish Church Music and Polish Religious Music. Arranged by...
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Easy Piano - Level 1 - SKU: A0.1359245 By Polish Church Music and Polish Religious Music. By Polish Church Music and Polish Religious Music. Arranged by Darek. Christian,Multicultural,Patriotic,Religious,Traditional,World. Score. 29 pages. Darek #943705. Published by Darek (A0.1359245). Polish Religious Sheet Music Collection - 12 Songs [VERY EASY]A Collection of 12 Sheet Music for Polish Religious Songs for Piano and Keyboard in Very Easy Arrangement for Beginner. Each note has its own video tutorial on the Music Lessons by Darek YouTube channel (Click to open the YouTube channel). This Collection of Sheet Music is simple arrangements for beginners for instruments such as piano, grand piano, keyboard or even accordion or bells! Very Easy Version - this is a version only for the right hand in the form of Letter Notes - additionally, chords, text and fingering are added. Very Easy notes are suitable for complete beginners who are just playing their first notes on the piano or keyboard. A Collection of 12 Sheet Music for Religious’s Songs contains the most important and most popular polish religious songs. The collection will be perfect for pilgrimages, to the Oasis, or for making music together at home. The songs in the collection have been collected in such a way as to collect in one product the melodies closest to your hearts and universal in terms of occasions. In this collection of religious sheet music you will find Marian songs, Easter Songs, Hymn Songs and others.Each piece has fingering, i.e. information written next to the notes on which fingers to play given sounds. The songs have signed lyrics under the notes, making it easier to accompany them on the piano while singing.This Collection of Sheet Music also includes some tips on, among others: rhythmic values and rests, rules for numbering fingers for playing, divisions of rhythmic values, names of sounds on the piano/keyboard, ways to remember the names of sounds, and types of chords that will make it easier for beginners to learn how to play the piano and keyboard.Included: Letter Notes, Lyrics, Chords, Fingering and simple YouTube video tutorial (Click to open the Playlist).Song list:1.    Chwalcie łąki umajone2.    Króluj nam Chryste3.    Niech będzie chwała i cześć i uwielbienie4.    Ojcze nasz5.    Stworzycielu Duchu przyjdź6.    Otrzyjcie już łzy płaczący7.    Pan jest pasterzem moim8.    Po górach dolinach9.    Rozpięty na ramionach10.  Z Dawna Polski Tyś Królową11.  Zdrowaś Maryjo12.  Zwycięzca śmierciPiano | Keyboard | Polish Religious Song | Marian songs | Easter Songs | Religious Hymn Songs | Polish Church Music | Digital Sheet Music | Very Easy Arrangement | Very Easy Version for Pianists | Beginner Version | Easy Piano Sheet Music | Arrangement for Beginners | Grand Piano | Very Easy Piano Arrangement | Simple Arrangement For Beginners | Sheet Music Religious Collection | Various Church Polish Songs| Very Easy Sheet Music Collection | Polskie Piosenki Religijne | Polskie Pieśni Religijne | Zbiór Nut Muzyka Religijna.
$7.00 ≈
6.45€
ARIRANG for 5-part flex ensemble - Score Only
ARIRANG for 5-part flex ensemble - Score Only
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Traditional Korean
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Steven Paxton
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ARIRANG for 5-part flex ensemb
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Creative Spirit
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1401872 Composed by Traditional Korean. Arranged by Steven Paxton. Contest,Festival,Folk,Multicultural,World. 28 pages....
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Concert Band - Level 3 - SKU: A0.1401872 Composed by Traditional Korean. Arranged by Steven Paxton. Contest,Festival,Folk,Multicultural,World. 28 pages. Creative Spirit #985065. Published by Creative Spirit (A0.1401872). Parts available from Creative Spirit.This 5-part flexible instrumentation arrangement will work well with combinations of woodwinds, brass, and strings (a string orchestra version is also being published). Optional parts for percussion, guitar, and piano are included.Arirang is a collective name for hundreds of Korean folk songs; many are ancient traditional songs, and others are newer. The Gangwondo Arirang is from Gangwon Province in northeastern South Korea and the adjacent North Korean KangwÅn Province, which were a single province before the 1945 division of Korea. Its distinctive rhythm of two unequal beats (3 subdivisions + 2 subdivisions: a long beat followed by a short  beat) will be a exciting challenge for young players.The familiar Bonjo Arirang was actually composed for a 1926 Korean film, and soon became a symbol for the nation and the people of Korea. It is sung today in both North and South Korea, and represents a symbol of unity in the region that was divided by the Korean War.DURATION: 5:00.
$15.00 ≈
13.81€
ARIRANG for string orchestra
ARIRANG for string orchestra
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Traditional Korean
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Steven Paxton
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ARIRANG for string orchestra
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Creative Spirit
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.1401868 Composed by Traditional Korean. Arranged by Steven Paxton. Contest,Festival,Folk,Multicultural,World. 41 pa...
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String Orchestra - Level 3 - SKU: A0.1401868 Composed by Traditional Korean. Arranged by Steven Paxton. Contest,Festival,Folk,Multicultural,World. 41 pages. Creative Spirit #985059. Published by Creative Spirit (A0.1401868). Arirang is a collective name for hundreds of Korean folk songs; many are ancient traditional songs, and others are newer. The Gangwondo Arirang is from Gangwon Province in northeastern South Korea and the adjacent North Korean KangwÅn Province, which were a single province before the 1945 division of Korea. Its distinctive rhythm of two unequal beats (3 subdivisions + 2 subdivisions: a long beat followed by a short  beat) will be a exciting challenge for young players.The familiar Bonjo Arirang was actually composed for a 1926 Korean film, and soon became a symbol for the nation and the people of Korea. It is sung today in both North and South Korea, and represents a symbol of unity in the region that was divided by the Korean War.More music for orchestra from Creative Spirit.DURATION: 5:00.
$65.00 ≈
59.85€
One Step At A Time, Viola Book III
One Step At A Time, Viola Book III
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Alto seul
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FACILE
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Methodes
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Jennie Lou Klim
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One Step At A Time, Viola Book
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Jennie Lou Klim
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SheetMusicPlus
Viola Solo - Level 2 - SKU: A0.953750 Composed by Jennie Lou Klim. Instructional. Individual part. 47 pages. Jennie Lou Klim #2856945. Published by Jenn...
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Viola Solo - Level 2 - SKU: A0.953750 Composed by Jennie Lou Klim. Instructional. Individual part. 47 pages. Jennie Lou Klim #2856945. Published by Jennie Lou Klim (A0.953750). One Step At A Time is a five-part method of teaching the fundamentals of music on the viola. It is written in a way that is logical, sequential, and easy to understand. The success of this approach is in its simplicity. The writing of this series is the culmination of many years of teaching, and is based on carefully considered pedagogical principles. Book III introduces two new patterns, the ONE-TWO and THREE-FOUR FINGER PATTERNS with easy intermediate tunes and exercises. As with the first two books in this series, the fundamental concepts are introduced on uncluttered pages, without the distraction of letter names or fingerings. I am grateful to my violinist daughter, Amy Harris Jevitt, who guided me when I was challenged to find the most logical pathway through the keys, and gave me her invaluable opinion in regard to pedagogical issues; and to my husband, Paul, for his endless hours of proofreading the multiple revisions as the series evolved. His total support and understanding made it possible to complete One Step At A Time.
$10.95 ≈
10.08€
Reveille, for instruments in six parts - Score and Parts
Reveille, for instruments in six parts - Score and Parts
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Paul Burnell
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Reveille, for instruments in s
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Paul Burnell
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SheetMusicPlus
Level 4 - SKU: A0.1426124 Composed by Paul Burnell. 21st Century,Classical,Contemporary. 41 pages. Paul Burnell #1006920. Published by Paul Burnell (A0....
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Level 4 - SKU: A0.1426124 Composed by Paul Burnell. 21st Century,Classical,Contemporary. 41 pages. Paul Burnell #1006920. Published by Paul Burnell (A0.1426124). Reveille by Paul Burnell.Composed 2002, with minor revisions to the score in 2023.For instruments in six parts, reading treble clef.Optional: percussion (2 low drums, agogo bells, marimba or piano), six voices, drone on EDuration 7:00 approx.Score in CThe instrumental parts may be played with multiple performers on each part 1-6. Octave transpositions are allowed optionally at any point, in addition to those bars marked with ‘opt. 8’. If there are multiple performers on each part then have solo performers from rehearsal letter E to the end. The technique instructions in brackets (pizz., arco, con sord.) are not meant to indicate specific instruments, they are applicable only to those appropriate instruments who may be performing.Optional - Percussion instruments. Two low drums, agogo bells, marimba or piano.Optional - Voices. In the opening section, each voice in turn speaks the name of the subsequent instrumental performer at the beginning of the indicated bar (or any person if there are multiple players within the part). The subsequent rhythms are a guide and can be interpreted freely.The voices may characterise their delivery so that each person is distinguished from the other. For example - angry, loving, curious, frightened, strict, cynical.Optional - Drone on low E. The drone may be played on any instruments, taking breath or rests as necessary. The drone ends in the bar before rehearsal letter E. The drone may be doubled one or two octaves higher and/or an octave lower than written. If multiple instruments are playing the drone, the players may fade in and out of the drone texture ad lib.Any of the following also optional: Voices enter, three with folded bed sheets who unfold and shake them open; others recite list of night birds. Hang sheets to make a screen. Instrumentalists enter. Bird flying silhouettes or bird hand-shapes projected. Intermittent recorded sounds of flapping wings. At end voices fold sheets, exit with instrumentalists, flapping wings sound fades. Other instruments sustain low e from beginning to letter E.Bird names: barn owl, stone curlew, nightjar, long-eared owl, whip-poor-will, Japanese night heron, tawny owl, northern mockingbird, hermit thrush, black crowned night heron, great horned owl, shearwater, woodcock, common nighthawk, chuck-will’s-widow, Jerdon’s courser, corncrake.
$3.99 ≈
3.67€
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renais...
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
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44.15€
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