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High voice and piano - Moderately Difficult - Digital Download

SKU: MQ.8454-2E

Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E).

English.

American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.


The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.

Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful.

The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave.

The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'

Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.

The Unquiet Grave from American Death Ballads (Downloadable)
Voix haute

$3.50 3.32 € Voix haute PDF SheetMusicPlus

Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download

SKU: A0.1308788

Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788).

*Purchase 10 copies to perform this piece with your ensemble of any size
*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.html

This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll.

 

One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea” over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them.

 

Somewhere beyond the sea

She’s there watching for me

…

It’s far beyond the stars

It’s near beyond the moon

 

And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,” and the song ends with: “and never again I’ll go sailing.” It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan.

 

Performance Suggestions: 

The improvisation solo in the middle should be free of any traditional “scat syllables” and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.

Beyond The Sea
Chorale SATB

$10.00 9.5 € Chorale SATB PDF SheetMusicPlus

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download

SKU: A0.1308790

Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. Set of parts. 10 pages. Tobi Crawford #898036. Published by Tobi Crawford (A0.1308790).

*THIS ACCOMPANIES THE VOCAL ARRANGEMENT* 

This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll.

 

One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea” over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them.

 

Somewhere beyond the sea

She’s there watching for me

…

It’s far beyond the stars

It’s near beyond the moon

 

And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,” and the song ends with: “and never again I’ll go sailing.” It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan.

 

Performance Suggestions: 

The improvisation solo in the middle should be free of any traditional “scat syllables” and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.

Beyond The Sea *INSTRUMENTAL PACK ONLY*
Ensemble Jazz

$30.00 28.5 € Ensemble Jazz PDF SheetMusicPlus

C Instrument - Level 3 - Digital Download

SKU: A0.1311681

By Marlena Shaw. By Art Munson and Molly-ann Leikin. Arranged by Popnroll 1976. 20th Century,Pop. Lead Sheet / Fake Book. 4 pages. Popnroll 1976 #900676. Published by Popnroll 1976 (A0.1311681).

You Taught Me How To Speak In Love - Marlena Shaw (Lead Sheet for Vocal & Guitar solo/Chords/Lyrics/Piano Intro)

This is the vocal melody score (with lyrics) for the second ballad You Taught Me How To Speak In Love from R&B female vocalist Marina Shaw's 1974 hit album WHO IS THIS BITCH, ANYWAY?

The intro piano and the solos of the two guitarists (Larry Carlton & David T. Walker) in the latter half of the song are also copied completely.
The melody of the song has also been transcribed as faithfully as possible.

PDF format, 4 pages.

Lyrics and music by Molly Leikin & Art Munson
Song: Marlena Shaw

Songs commentary
 This song is said to be the motif of Itoshi no Ellie by Southern All Stars, but this song has a simpler structure than Itoshi no Ellie.
 The song structure repeats the A part and the B part (chorus) twice, then fades out (F.O.) while repeating the B part.
 During this time, there are solos involving the two guitarists in the song. First, Larry Carlton on the left takes the lead in the high register with a clever use of chord tones, and David T. Walker, seated on the right from the third turn, develops a unique and chic phrase.
 Marina's singing is free and uninhibited, but her phrasing is full of color as if she is speaking her feelings to the audience.

You Taught Me How To Speak In Love
Instruments en Do
Marlena Shaw
$9.99 9.49 € Instruments en Do PDF SheetMusicPlus

C Instrument - Digital Download

SKU: A0.808217

By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by Mark W. Huxhold. 20th Century. Lead Sheet / Fake Book. 5 pages. Mark Wayne Music, LLC #3520281. Published by Mark Wayne Music, LLC (A0.808217).

Gig worthy! Made for the working or aspiring jazz professional, lead sheets from Mark Wayne Music, LLC are ideal for use on gigs. The lead sheets are free of eye clutter and can easily be read at a glance. All songs up to 40 measures in length are on 1 page with repeats and endings being avoided whenever possible. Other features include:

18 pt font for chord symbols - clef (treble) and key signature on the first line only 

4 measure phrase per line - melody written in simple rhythms (the player is left to swing it) 

Left bar lines -heavy left bar lines that infer the song form (AABA-heavy bar line at B and last A,   ABAC-heavy bar line at second A)

Primary sources consulted and current performance practices considered for the arrangement

Common performance keys included with each title, each key having its own page.

Visit us at markwaynemusic.com


They Can't Take That Away From Me from THE BARKLEYS OF BROADWAY from SHALL WE DANCE
Instruments en Do
Frank Sinatra
$4.99 4.74 € Instruments en Do PDF SheetMusicPlus

Instrumental Solo,Saxophone - Level 5 - Digital Download

SKU: A0.1202307

Composed by Brandon Nelson. 20th Century,Chamber,Christian,Classical,Contemporary. Individual part. 11 pages. Brandon Nelson #800991. Published by Brandon Nelson (A0.1202307).

Dr. Brian Kauth assembled a consortium of saxophone players to commission me to write a piece in four 
movements, each to be for a different member of the saxophone family(soprano, alto, tenor, baritone). He 
chose the theme of the “four horsemen of the apocalypse” because, as he puts it, “the saxophone was long 
considered ‘the devil’s instrument’due to the seedy and sultry qualities associated with it.”

Program
The story of the Four Horsemen comes from the biblical Book of Revelation. Each of the Horsemen is said to 
represent events that are supposed to usher in the Apocalypse, the final battle between good and evil. As with 
many biblical passages, there are numerous interpretations of this account debated among theologians. Those 
that I’ve taken in thispiece are strictly based on my own aesthetic requirements and should not be construed 
as taking any particular sides in these spiritual debates.

The Four Horsemen symbolize the evils to come before the end of the world. It is said that a quarter of the 
world’s population is to be wiped out by a combination of these ills. The Horsemen pave the way for the final
battle, the final judgement, and the Second Coming.

The account begins with the White Horsemen, symbolizing pestilence. Next comes the Red Horse, 
representing war. Then the Black Horse, bringing widespread famine, especially against the poor of the world.
Finally, the Pallid Horse, the personification of Death, reaping his reward in the victims of the tribulations.

Performance Note
Each movement is assigned a different member of the saxophone family. Ideally it should be performed as 
such. However, if you do not have access to all four saxes, you may perform the movements on the sax or 
saxesof your choosing. The movements are written such that they will sound satisfactory on any of the saxes.

The Four Horsemen (unaccompanied sax)
Saxophone

$12.99 12.34 € Saxophone PDF SheetMusicPlus

Full Orchestra - Level 2 - Digital Download

SKU: A0.1494427

By Adele. By Adele Adkins and Greg Kurstin. Arranged by Paul Lorenz. Broadway,Classical,Musical/Show,Pop,Rock,Soul. 39 pages. Paul Lorenz #1071020. Published by Paul Lorenz (A0.1494427).

Adele Easy On Me Orchestral Version by Paul Lorenz – Sheet Music for a Breathtaking Crossover Masterpiece


Discover the extraordinary orchestral arrangement of Adele’s iconic hit Easy On Me by the renowned composer and arranger Paul Lorenz. This exclusive sheet music offers musicians and ensembles the chance to perform a piece that blends the emotional depth of Adele’s original song with the grandeur and sophistication of a full orchestra. Whether you are a professional musician or part of an ensemble, this sheet music is designed to elevate your performance and captivate your audience.

A Unique Orchestral Experience


Paul Lorenz, known for his collaborations with the London Symphony Orchestra, has created a version of Easy On Me that is both powerful and moving. The arrangement captures the soul of Adele’s lyrics and melodies while introducing rich, orchestral textures that add a new dimension to the song. This sheet music allows you to bring that same majestic sound to your own performances, whether in a concert hall, studio, or classroom setting.

What You’ll Find in This Sheet Music


Complete Orchestral Score: The sheet music includes a full score, meticulously arranged to ensure that every instrument shines. Each part is crafted with precision, allowing musicians to deliver a flawless performance.
Individual Parts for All Instruments: From strings to woodwinds, brass, and percussion, every section of the orchestra is represented. The individual parts are easy to follow, making it simple for musicians of all levels to perform together.
Detailed Performance Notes: Paul Lorenz has included insights and tips on how to best bring out the emotion and dynamics of the piece. These notes are invaluable for conductors and musicians looking to deliver a performance that resonates with their audience.

Why Choose Paul Lorenz’s Orchestral Arrangement?


This sheet music is more than just notes on a page; it’s a gateway to an unforgettable musical experience. Paul Lorenz’s arrangement of Easy On Me has been praised for its innovative approach to orchestral music, combining classical techniques with contemporary elements. By choosing this sheet music, you’re not only adding a stunning piece to your repertoire but also embracing a composition that bridges the gap between pop and classical music.

Perfect for Concerts, Recitals, and Special Performances


This orchestral version of Easy On Me is ideal for a wide range of performances. Whether you’re planning a concert, a recital, or a special event, this piece will leave a lasting impression on your audience. Its universal appeal makes it suitable for diverse audiences, ensuring that everyone in attendance will be moved by the performance.

Get Your Copy Today


Don’t miss out on the opportunity to perform this beautiful and powerful orchestral arrangement of Easy On Me. Purchase your copy of Paul Lorenz’s sheet music today and take the first step towards an unforgettable performance. Available in digital and print formats, this sheet music is ready to be part of your next musical journey.

Easy On Me
Orchestre
Adele
$149.90 142.4 € Orchestre PDF SheetMusicPlus


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