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C Instrument - Level 1 - Digital Download SKU: A0.1378183 Composed by George Frideric Handel. Arranged by Amanda Cerqueira Rodrigues. Baroque,Christmas,Easter,Traditional,Wedding. Lead Sheet / Fake Book. 2 pages. Amanda Rodrigues #962807. Published by Amanda Rodrigues (A0.1378183). Explore the timeless beauty of Handel's Passacaglia in C#m Minor with this beginner-friendly lead sheet for Trumpet in C. Derived from Johan Halvorsen's renowned arrangement, this high-quality PDF offers both melody and chords, making it versatile for various instruments with a similar range to the Trumpet in C. Perfect for Easter, Christmas, and religious holidays, this classic theme and variation piece captures the essence of the season with its profound depth and simplicity.- Easy/Beginner- C#m Minor- Lead Sheet Format- Includes Melody and Chords- Derived from Johan Halvorsen's Arrangement- Suitable for Instruments with Similar Range to Trumpet in C- Perfect for Easter and Christmas- Instant Digital DownloadElevate your repertoire with the enduring beauty of Handel's Passacaglia. Whether you're a novice or seasoned musician, this easy sheet music provides a gateway to the majestic world of classical music. Download your high-quality PDF now and embark on a musical journey filled with grace and inspiration.Want this sheet in a different key? I have it on 13 keys and in a lot of different instruments, so come on checking my profile to pick the perfect one!
Passacaglia - Easy Trumpet in C Lead Sheet in C#m Minor (Johan Halvorsen's Version)
Instruments en Do

$1.99 1.71 € Instruments en Do PDF SheetMusicPlus

C Instrument - Level 1 - Digital Download SKU: A0.1378277 Composed by George Frideric Handel. Arranged by Amanda Cerqueira Rodrigues. Baroque,Christmas,Easter,Traditional,Wedding. Lead Sheet / Fake Book. 2 pages. Amanda Rodrigues #962899. Published by Amanda Rodrigues (A0.1378277). Explore the timeless beauty of Handel's Passacaglia in D#m Minor with this beginner-friendly lead sheet for String Bass. Derived from Johan Halvorsen's renowned arrangement, this high-quality PDF offers both melody and chords, making it versatile for various instruments with a similar range to the String Bass. Perfect for Easter, Christmas, and religious holidays, this classic theme and variation piece captures the essence of the season with its profound depth and simplicity.- Easy/Beginner- D#m Minor- Lead Sheet Format- Includes Melody and Chords- Derived from Johan Halvorsen's Arrangement- Suitable for Instruments with Similar Range to String Bass- Perfect for Easter and Christmas- Instant Digital DownloadElevate your repertoire with the enduring beauty of Handel's Passacaglia. Whether you're a novice or seasoned musician, this easy sheet music provides a gateway to the majestic world of classical music. Download your high-quality PDF now and embark on a musical journey filled with grace and inspiration.Want this sheet in a different key? I have it on 13 keys and in a lot of different instruments, so come on checking my profile to pick the perfect one!
Passacaglia - Easy String Bass Lead Sheet in D#m Minor (Johan Halvorsen's Version)
Instruments en Do

$1.99 1.71 € Instruments en Do PDF SheetMusicPlus

Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.1170458 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. Octavo. 11 pages. Kevin G. Pace #770827. Published by Kevin G. Pace (A0.1170458). A beautiful, dramatic choral setting for SATB choir.  Music by Kevin G. Pace.  Text by Mary Ann W. Snowball.Psalm of Mercy(Inspired from Psalm 51)O Lord, have mercy on my soul and cover ev’ry sin.Cleanse me from all iniquity; from thy sight, let me in.O, purge mistakes against thy Name, transgressions mine to own.Make me to feel thy constant joy; o leave me not alone.O Lord, have mercy when Thou calls, and grant me clemency.Deliver me thy sacrifice and blood on bended knees.Bestow unto me sweet relief; O cast me not away.Provide pure healing and repose I ever, ever pray.O Lord, have mercy and renew my humble, willing mind.Thou art my hope of mending care when pardon I may find.Forgive me, always, I implore. I plead a brand, new start.O, to thy holy Name I bring . . . I bring my broken heart.
Psalm of Mercy, sacred music for SATB choir
Chorale SATB

$1.99 1.71 € Chorale SATB PDF SheetMusicPlus

Brass Ensemble Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1429088 By Kenneth Martin. By Charles Villiers Stanford. Arranged by Kenneth Martin. Chamber,Contest,Festival,Historic,Instructional,Romantic Period. 25 pages. Martin Music Editions #1009849. Published by Martin Music Editions (A0.1429088). Immerse your brass ensemble in the rich harmonies and evocative melodies of two beloved choral works by Charles Villiers Stanford, now expertly arranged for Brass Sextet. This arrangement pays homage to Stanford's legacy as a pioneering figure in British music, capturing the essence of his original compositions while showcasing the versatility and power of brass instruments.Charles Villiers Stanford (1852–1924) stands as a towering figure in the annals of British music, renowned for his contributions as a composer, conductor, and teacher. A mentor to many great composers, Stanford's influence reverberates through generations. His compositions span a wide range of genres, from symphonies to operas, but it is his choral works that have left an indelible mark on the musical landscape.Op. 119, No. 3 The BluebirdTransport your audience to a realm of ethereal beauty with Stanford's enchanting choral piece, The Bluebird. Originally composed as part of his Six Songs from A Shropshire Lad, Op. 119, this arrangement captures the delicate interplay of voices through the resounding timbres of two trumpets, horn, two trombones, bass trombone (or tuba). The shimmering harmonies and soaring melodies evoke the fleeting yet poignant imagery of the bluebird's song, making this a captivating addition to any brass ensemble's repertoire.Op. 38 Beati quorum viaExperience the timeless elegance of Stanford's Beati quorum via in this masterful brass arrangement. From Stanford's Three Latin Motets, Op. 38, this piece radiates serenity and introspection, its lush harmonies and graceful melodies inviting listeners on a journey of contemplation and reverence. With its blend of lyrical phrasing and majestic brass textures, this arrangement offers a stirring showcase for the expressive capabilities of the ensemble.Whether performed as a pair or as standalone pieces, these arrangements of Stanford's masterworks offer brass enthusiasts and music educators alike a captivating opportunity to explore the beauty and depth of his choral compositions through the vibrant palette of brass instruments. With score and parts included, this edition ensures a seamless and rewarding performance experience for brass sextets seeking to engage audiences with the timeless artistry of Charles Villiers Stanford.
TWO STANFORD ANTHEMS FOR BRASS SEXTET: The Blue Bird & Beati quorum via
Kenneth Martin
$9.50 8.17 € PDF SheetMusicPlus

Cello Duet Cello - Level 3 - Digital Download SKU: A0.1472514 By Van Morrison. By Van Morrison. Arranged by Sarah Cellobat Chaffee. Pop,Rock,Wedding. Score. 9 pages. Sarah Cellobat Chaffee #1050161. Published by Sarah Cellobat Chaffee (A0.1472514). Brown Eyed Girl was released by Irish singer-songwriter Van Morrison in 1967, and it became an instant hit, spending 16 weeks on the Billboard Hot 100 charts. It was soon well known as Van Morrison's signature song, and it has since become a staple of classic rock radio and one of the most covered songs in rock history. If you need a song in your cello duet repertoire that is beloved by everyone of every age and is sure to get your audience singing along, this is the one! This arrangement of Brown Eyed Girl for two cellos is a lively, upbeat chart that is as fun to play as it is to listen to. Rated intermediate, this chart will be easily sightreadable for professionals and learnable for students -- the cello 2 part remains in first position throughout, and the cello 1 part does not go higher than 4th position, remaining in 1st and 2nd most of the time. There are a number of syncopated rhythms, but nothing too crazy.Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. You may have seen her onstage with legendary rock band Aerosmith as the cellist for their “Deuces Are Wild” residency, playing more than 50 sold-out shows with the Bad Boys from Boston; she is also the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays and tours with many other world-renowned groups including the Femmes of Rock, Premiere Wedding Music, Bella Electric Strings, and David Perrico’s Pop Strings Orchestra. Sarah has made a number of TV appearances including the Billboard Music Awards, the Latin Grammy Awards, the iHeartRadio Music Festival, and the CBS reality show “Love Island”; she also played with Michael Bublé for his sold-out Resorts World residency and appeared with him on the Kelly Clarkson Show. Sarah has performed and recorded with a number of other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Dionne Warwick, Sarah Brightman, and Sammy Hagar.Sarah is also an acclaimed string arranger with hundreds of arrangements published on Sheet Music Plus under her own label, Cellobat Charts. She is the exclusive arranger for several award-winning wedding and event companies across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles worldwide. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobathttp://www.facebook.com/SarahCellobatChaffee
Brown Eyed Girl
2 Violoncelles (duo)
Van Morrison
$9.99 8.6 € 2 Violoncelles (duo) PDF SheetMusicPlus

Cello Duet Cello - Level 3 - Digital Download SKU: A0.1468395 By Van Morrison. By Van Morrison. Arranged by Sarah Cellobat Chaffee. Pop,Rock,Wedding. Score. 9 pages. Sarah Cellobat Chaffee #1046709. Published by Sarah Cellobat Chaffee (A0.1468395). Brown Eyed Girl was released by Irish singer-songwriter Van Morrison in 1967, and it became an instant hit, spending 16 weeks on the Billboard Hot 100 charts. It was soon well known as Van Morrison's signature song, and it has since become a staple of classic rock radio and one of the most covered songs in rock history. If you need a song in your cello duet repertoire that is beloved by everyone of every age and is sure to get your audience singing along, this is the one! This arrangement of Brown Eyed Girl for two cellos is a lively, upbeat chart that is as fun to play as it is to listen to. Rated intermediate, this chart will be easily sightreadable for professionals and learnable for students -- the cello 2 part remains in first position throughout, and the cello 1 part does not go higher than 4th position, remaining in 1st and 2nd most of the time. There are a number of syncopated rhythms, but nothing too crazy.Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. You may have seen her onstage with legendary rock band Aerosmith as the cellist for their “Deuces Are Wild” residency, playing more than 50 sold-out shows with the Bad Boys from Boston; she is also the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays and tours with many other world-renowned groups including the Femmes of Rock, Premiere Wedding Music, Bella Electric Strings, and David Perrico’s Pop Strings Orchestra. Sarah has made a number of TV appearances including the Billboard Music Awards, the Latin Grammy Awards, the iHeartRadio Music Festival, and the CBS reality show “Love Island”; she also played with Michael Bublé for his sold-out Resorts World residency and appeared with him on the Kelly Clarkson Show. Sarah has performed and recorded with a number of other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Dionne Warwick, Sarah Brightman, and Sammy Hagar.Sarah is also an acclaimed string arranger with hundreds of arrangements published on Sheet Music Plus under her own label, Cellobat Charts. She is the exclusive arranger for several award-winning wedding and event companies across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles worldwide. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobathttp://www.facebook.com/SarahCellobatChaffee
Brown Eyed Girl
2 Violoncelles (duo)
Van Morrison
$9.99 8.6 € 2 Violoncelles (duo) PDF SheetMusicPlus

Cello and piano - very easy to easy - Digital Download SKU: S9.Q47141 Composed by Marie Dare. This edition: Sheet music. Schott Student Edition - Repertoire. Downloadable. Schott Music - Digital #Q47141. Published by Schott Music - Digital (S9.Q47141). The Schott Student Edition presents motivational teaching repertoire in five levels, from easy to advanced. These editions feature easy-to-read printing along with tips and suggestions from highly experienced music educators. The Serenade & Valse by, the relatively unknown composer, Marie Dare is an attractive addition to the repertoire in the first years of study (Level 2) and can be played entirely in first position. The Gavotte op. 112 by Sebastian Lee is a multi-faceted work for intermediate students (Level 3). Musically the Gavotte offers the possibility to present different characters. The piano part is intentionally simple and is limited to a supporting accompaniment. About Schott Student EditionThe Schott Student Edition gathers instrumental works for music lessons providing a unique and varied repertoire resource including standard teaching works, lesser known pieces which are perfectly suited to lessons as well as to student concerts and competitions.The repertoire is divided into levels 1-5, from very easy to difficult, and includes works from the Renaissance up to modern performance pieces. Each title is graded, from very easy works for beginners up to demanding pieces for more advanced students who are preparing for further study or examinations.Every work in the series has been carefully selected and edited by experienced music teachers. The editions also contain a wealth of information on the pieces as well as useful advice on studying, rehearsing and interpreting the works. The first titles to be published in the Schott Student Edition series contain works for violin, violoncello, flute, clarinet and recorder. Further editions are in preparation.
Serenade & Valse
Violoncelle, Piano

$7.99 6.87 € Violoncelle, Piano PDF SheetMusicPlus

2 voices and piano - intermediate - Digital Download SKU: S9.Q47807 Das Liederspiel. Composed by Engelbert Humperdinck. This edition: single sheet. Singspiel version - fairy tale - Brothers Grimm - folk song - piano reduction - Hansel - Gretel - witch. Downloadable, Separate edition. Duration 55 minutes. Schott Music - Digital #Q47807. Published by Schott Music - Digital (S9.Q47807). German.When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin.Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric†Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]â€. She enclosed the corresponding verses with the letter and “for fun†also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April.This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment†(see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note(E flat) instead of on the four notes of the chord.â€The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form.Bevor Engelbert Humperdincks Märchenoper Hänsel und Gretel zum Welterfolg wurde, hatte das Werk bereits eine vielschichtige Entstehungsgeschichte hinter sich. Humperdincks Schwester Adelheid Wette schrieb 1890 ein gereimtes Märchenspiel gleichen Namens, welches sie gemeinsam mit ihren Töchtern im Familienkreis aufführte. Ihr Bruder hatte die entsprechenden vier Lieder dazu beigesteuert. Während Brüderchen, komm tanz mit mir und Tirelireli in veränderter Form auch in die spätere Märchenoper eingingen, existieren das Schlummerliedchen und das Echo im Walde exklusiv in dieser Urfassung von Humperdincks Hänsel und Gretel. Diese Ausgabe umfasst Humperdincks vier ursprüngliche Lieder, die in dieser Fassung erstmals in editierter Form veröffentlicht werden, ebenso wie den vollständigen Text von Adelheid Wettes Liederspiel aus dem Jahr 1890.
Hänsel und Gretel
Voix duo, Piano
the way, the ‘cock-a-doodle-doo’ can also be sung on one note(E flat) instead of on the four notes of the chord â€The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles
$23.99 20.64 € Voix duo, Piano PDF SheetMusicPlus

Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.1241295 Composed by Todd Marchand. Christian,Holiday,Patriotic,Sacred. Octavo. 4 pages. Con Spirito Music #836674. Published by Con Spirito Music (A0.1241295). Lord, Hear Us for Our Native Land (also known by its incipit, Lord while for all mankind we pray) was writ­ten by the Rev. John Reynell Wreford (1800-1881), an English Unitarian minister, in hon­or of the ac­cess­ion of Bri­tain’s Queen Vic­tor­ia to the throne in 1837. It was published that same year in his Lays of Loyalty, a collection of poetry commemorating both the passing of King William the Fourth and the accession of the then-18-year-old Victoria. Fitting for national celebrations and remembrances, Wreford's text speaks of a nation's humility before God and reliance on His providence and blessing. This new tune and arrangement for unison voices and organ is reminiscent of O God, Our Help in Ages Past (being in the same 8.6.8.6 meter), with triplet fanfares that echo the American national hymn, God of Our Fathers. Lord, while for all mankind we prayOf every clime and coast,O hear us for our native land,The land we love the most.O guard our shores from every foe;With peace our borders bless;With prosperous times our cities crown,Our fields with plenteousness.Unite us in the sacred loveOf knowledge, truth, and thee;And let our hills and valleys shoutThe songs of liberty.Lord of the nations, thus to theeOur country we commend;Be thou her refuge and her trust,Her everlasting friend.©Copyright 2022 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com
Lord, Hear Us for Our Native Land — unison voices, organ
Chorale Unison

$2.00 1.72 € Chorale Unison PDF SheetMusicPlus

Concert Band - Level 4 - Digital Download SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart.  .
Rhapsody for Concert Band
Orchestre d'harmonie
July 16th, Clara noted in her diary that Brahms speaks only in monosyllables
$20.00 17.21 € Orchestre d'harmonie PDF SheetMusicPlus

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1422856 By Mark Rowlinson (Baritone) and Peter Lawson (piano). By David Warin Solomons. Christmas,Contemporary. Score. 4 pages. David Warin Solomons #1004211. Published by David Warin Solomons (A0.1422856). Haikus by Canon Albert Radcliffe (who was canon at Manchester Cathedral) and asked me to set them. The music is unusual for vocal works in that it uses the octatonic mode, but this seemed particularly appropriate for the unusual angle which Canon Albert takes on the Christmas story. I said to the snow, Show me what you know of God. Brightness blinded me. To the stars I said, Speak then from a gentler light. Their word was silence. I called to the wind, Whis-per the glory of God. Its breath took my breath. I asked the holly What do you know of his love? Her thorns drew my blood. ©Canon Albert E Radcliffe  (Manchester Cathedral, UK).
Christmas Haikus for Baritone and Piano
Piano, Voix
Mark Rowlinson (Baritone) and Peter Lawson (piano)
$10.00 8.6 € Piano, Voix PDF SheetMusicPlus

Baritone Horn TC,Piano - Level 4 - Digital Download SKU: A0.1422859 By Mark Rowlinson (Baritone) and Peter Lawson (piano). By David Warin Solomons. Christmas,Contemporary. Full Performance. Duration 160. David Warin Solomons #1004214. Published by David Warin Solomons (A0.1422859). Haikus by Canon Albert Radcliffe (who was canon at Manchester Cathedral) and asked me to set them. The music is unusual for vocal works in that it uses the octatonic mode, but this seemed particularly appropriate for the unusual angle which Canon Albert takes on the Christmas story. I said to the snow, Show me what you know of God. Brightness blinded me. To the stars I said, Speak then from a gentler light. Their word was silence. I called to the wind, Whis-per the glory of God. Its breath took my breath. I asked the holly What do you know of his love? Her thorns drew my blood. ©Canon Albert E Radcliffe  (Manchester Cathedral, UK).
Christmas Haikus for Baritone and Piano (mp3)
Mark Rowlinson (Baritone) and Peter Lawson (piano)
$5.00 4.3 € PDF SheetMusicPlus

Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1268113 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Dylan Trần. A Cappella,Contemporary,Film/TV,Pop,Singer/Songwriter. 7 pages. Dylan Trần #860672. Published by Dylan Trần (A0.1268113). Accesible yet moving, this arrangement of What Was I Made For? from the blockbuster movie, Barbie, is fit for professional choir, college choir, community choir, highschool choir, a capella groups, vocal pop groups, and more. Renowned composer Dylan Trần uses idiomatic, yet evocative voicings that will immediately reward on first reading as well as in polished performance. Learn more at www.dylantranmusic.comHere's why your choir should embrace Billie Eilish's captivating music— (professional choir, large ensemble, small ensemble, community choir, college choir, highschool choir, pop a capella choir, etc.)Contemporary Relevance: Billie Eilish's music is a cultural phenomenon, deeply resonating with today's generation. By incorporating her songs into your repertoire, your choir can connect with younger audiences, enhancing its relevance and expanding its fan base.Empowering Lyrics: Billie Eilish's lyrics tackle meaningful and often profound subjects, from mental health to self-discovery and social issues. Singing her songs empowers your choir to explore important themes, fostering empathy and emotional depth in their performances.Dynamic Vocal Range: Billie Eilish's music offers a diverse range of vocal styles, from hauntingly soft whispers to powerful belting. Your choir members can showcase their versatility and vocal prowess, honing their skills and challenging their vocal boundaries.Artistic Expression: Embrace the opportunity for creative expression! Billie Eilish's music encourages innovative interpretations, allowing your choir to infuse each performance with its unique artistic flair and captivate audiences with fresh renditions.Fusion of Genres: With elements of pop, alternative, and electronic music, Billie Eilish's songs provide an exciting fusion of genres. Your choir can explore new musical horizons, enriching its repertoire and broadening its musical diversity.Emotional Resonance: Billie Eilish's music evokes a wide range of emotions, from introspection to empowerment. Singing her songs allows your choir to tap into these emotions, forging a deep connection with audiences and leaving a lasting impact.Collaborative Learning: Billie Eilish's intricate compositions present an excellent opportunity for collaborative learning within your choir. By working together to master the nuances of her music, your choir members can strengthen their bonds and elevate their collective musicality.Pushing Boundaries: Billie Eilish's music is known for its boundary-pushing and innovative soundscapes. Embracing her songs encourages your choir to explore new musical territories, pushing the boundaries of traditional choral performances.Embrace the audacious spirit of Billie Eilish's music and witness your choir's performances soar to unprecedented heights of creativity and artistry. Unleash the power of her captivating melodies and thought-provoking lyrics, leaving audiences awestruck and craving more of your choir's extraordinary renditions.
What Was I Made For?
Chorale SATB
Billie Eilish
$6.00 5.16 € Chorale SATB PDF SheetMusicPlus

Choral Choir,Choral (SSAA) - Level 2 - Digital Download SKU: A0.1280004 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Dylan Tran. A Cappella,Contemporary,Film/TV,Pop,Singer/Songwriter. 7 pages. Dylan Trần #871424. Published by Dylan Trần (A0.1280004). Accesible yet moving, this arrangement of What Was I Made For? from the blockbuster movie, Barbie, is fit for professional choir, college choir, community choir, highschool choir, a capella groups, vocal pop groups, and more. Renowned composer Dylan Trần uses idiomatic, yet evocative voicings that will immediately reward on first reading as well as in polished performance. Learn more at www.dylantranmusic.comHere's why your choir should embrace Billie Eilish's captivating music— (professional choir, large ensemble, small ensemble, community choir, college choir, highschool choir, pop a capella choir, etc.)Contemporary Relevance: Billie Eilish's music is a cultural phenomenon, deeply resonating with today's generation. By incorporating her songs into your repertoire, your choir can connect with younger audiences, enhancing its relevance and expanding its fan base.Empowering Lyrics: Billie Eilish's lyrics tackle meaningful and often profound subjects, from mental health to self-discovery and social issues. Singing her songs empowers your choir to explore important themes, fostering empathy and emotional depth in their performances.Dynamic Vocal Range: Billie Eilish's music offers a diverse range of vocal styles, from hauntingly soft whispers to powerful belting. Your choir members can showcase their versatility and vocal prowess, honing their skills and challenging their vocal boundaries.Artistic Expression: Embrace the opportunity for creative expression! Billie Eilish's music encourages innovative interpretations, allowing your choir to infuse each performance with its unique artistic flair and captivate audiences with fresh renditions.Fusion of Genres: With elements of pop, alternative, and electronic music, Billie Eilish's songs provide an exciting fusion of genres. Your choir can explore new musical horizons, enriching its repertoire and broadening its musical diversity.Emotional Resonance: Billie Eilish's music evokes a wide range of emotions, from introspection to empowerment. Singing her songs allows your choir to tap into these emotions, forging a deep connection with audiences and leaving a lasting impact.Collaborative Learning: Billie Eilish's intricate compositions present an excellent opportunity for collaborative learning within your choir. By working together to master the nuances of her music, your choir members can strengthen their bonds and elevate their collective musicality.Pushing Boundaries: Billie Eilish's music is known for its boundary-pushing and innovative soundscapes. Embracing her songs encourages your choir to explore new musical territories, pushing the boundaries of traditional choral performances.Embrace the audacious spirit of Billie Eilish's music and witness your choir's performances soar to unprecedented heights of creativity and artistry. Unleash the power of her captivating melodies and thought-provoking lyrics, leaving audiences awestruck and craving more of your choir's extraordinary renditions.
What Was I Made For?
Chorale SSAA
Billie Eilish
$6.00 5.16 € Chorale SSAA PDF SheetMusicPlus

Woodwind Ensemble,Woodwind Quintet - Level 2 - Digital Download SKU: A0.956899 Composed by Charles Gonoud, Edward Elgar, Felix Bartholdy Mendelssohn, Peter Ilyich Tchaikovsky, and Richard Wagner. Arranged by Woods Only. Christian,Film/TV,Romantic Period,Wedding,World. 62 pages. Woods Only, Arrangements #6476473. Published by Woods Only, Arrangements (A0.956899). This collection brings the most well-known and appropriate music for wedding ceremonies, arranged for woodwind quintet, where you can find music from beginner to professional levels of performance. They can be performed not only specifically in marriage ceremonies, but also in serenades, concerts, recitals and others. I. Ave Maria, Charles Gonoud/BACH The piece is composed of a melody by French Romantic composer Charles Gounod specially designed to overlap with Prelude No. Although published in instrumental versions and equipped for various texts during Gounod's lifetime, the claim that he never actually wrote it seems to be literally true. The version of Bach's prelude used by Gounod has the addition of a bar found only in the manuscript of Christian Friedrich Gottlieb Schwencke and the printed edition of Nikolaus Simrock which was based on it, but not in the other Bach manuscripts or the printed work of the scholar Bischoff or G. II. Dance of the Sugar Plum Fairy, Tchaikovsky The Dance of the Sugar Plum Fairy is a dance for a ballerina. Tchaikovsky introduced the celesta to Russian music lovers on 19 March 1892 when the Nutcracker Suite was performed for the Russian Musical Society in St. Petersburg. It is heard in other parts of Act 2 of The Nutcracker besides the Sugar Plum Fairy's dance. The Dance of the Sugar Plum Fairy is one of the ballet's best known musical numbers. The complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in North America. Major American ballet companies generate around 40% of their annual ticket revenues from performances of The Nutcracker. III. Salut d'amour, Elgar It was not published by Schott & Co., a German publisher, with offices in Mainz, London, Paris and Brussels, until a year later, and the first editions were for violin and piano, piano solo, cello and piano, and for small orchestra. As a violin-and-piano piece Salut d'Amour had been recorded for The Gramophone & Typewriter Ltd (predecessor to The Gramophone Company) as early as 1901 by Jacques Jacobs, leader/director of the Trocadero Restaurant orchestra. IV. Nuptial March, Wagner It is a bridal march played at the entrance of many Western wedding ceremonies. In English-speaking countries, it is generally known as Here Comes the Bride or Wedding March, but wedding march refers to any piece in march tempo accompanying the entrance or exit of the bride, notably Felix Mendelssohn's Wedding March. Wagner's piece was made popular when it was used as the processional at the wedding of Victoria the Princess Royal to Prince Frederick William of Prussia in 1858. Unlike the current tradition of it being played at the beginning of the ceremony, the work is performed after the wedding of Lohengrin and Elsa in the opera. V. Wedding March, Mendelssohn Felix Mendelssohn's Wedding March in C major, written in 1842, is one of the best known of the pieces from his suite of incidental music. The first known instance of Mendelssohn's Wedding March being used at a wedding was when Dorothy Carew wed Tom Daniel at St Peter's Church, Tiverton, England, on 2 June 1847 when it was performed by organist Samuel Reay. However, it did not become popular at weddings until it was selected by Victoria, The Princess Royal for her marriage to Prince Frederick William of Prussia on 25 January 1858. The bride was the daughter of Queen Victoria, who loved Mendelssohn's music and for whom Mendelssohn often played while on his visits to Britain.
5 Classical Wedding Music for Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor

$59.99 51.62 € Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor PDF SheetMusicPlus






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