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Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download

SKU: A0.1370906

Composed by David Warin Solomons. 21st Century,Contemporary. 18 pages. David Warin Solomons #955248. Published by David Warin Solomons (A0.1370906).

A setting of the La Fontaine poem La cigale et la fourmi with narrator (in French), clarinet, bassoon and piano

The pdf file contains score and instrumental parts. The narrator should use the score.

(A version with English narrator is also available on this site)

La cigale, ayant chanté tout l’été,
se trouva fort dépourvue 
Quand la bise fut venue.
Pas un seul petit morceau 
De mouche ou de vermisseau.
Elle alla crier famine 
Chez la fourmi sa voisine,
La priant de lui prêter 
Quelque grain pour subsister
Jusqu’à la saison nouvelle.
“Je vous paierai,â€
lui dit elle,
“avant l’août,
foi d’animal,
Intérêt et principal.â€
La fourmi n’est pas prêteuse;
C’est là son moindre défaut.
“Que faisiez vous au temps chaud?â€
Dit elle à cette emprunteuse
“Nuit et jour à tout venant
Je chantais,
ne vous déplaise.â€
“Vous chantiez?
j’en suis fort aise.
Eh bien!
dansez maintenant.â€

English translation by S N Solomons

The Grasshopper in drowsy song
Had spent the pleasant summer long,
And found herself without a crumb
When winter’s icy blast had come.
Not one small morsel could she spy
Of puny worm or measly fly.

So off she went to cry her want
Straight to her neighbour Madame Ant,
Merely asking for a loan
Of bread or grain to eke her own
Until the plenteous time came round.

“I’ll pay you back, or I’ll be bound
By August, word of animal,
Both interest and principal.â€

The Ants are not a lending lot
Indeed that is their slightest fault.

“What were you doing when ’twas hot?â€
She asked this impecunious sort.
†To all who came, both day and night
I used to sing at every chance.â€

“You used to sing? That’s fine and right!
Well now’s the very time – to dance!â€
©S.N.Solomons.

La cigale et la fourmi (The Grasshopper and the ant) French narrator, Clarinet, Bassoon and Piano
August, word of animal,
Both interest and principal
â€

The Ants are not a lending lot
Indeed that is their slightest fault

$13.00 12.36 € PDF SheetMusicPlus

Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download

SKU: A0.1370914

Composed by David Warin Solomons. 21st Century,Contemporary. Full Performance. Duration 189. David Warin Solomons #955258. Published by David Warin Solomons (A0.1370914).

A setting of the La Fontaine poem La cigale et la fourmi with narrator (in French), clarinet, bassoon and piano


(A version with English narrator is also available on this site)

La cigale, ayant chanté tout l’été,
se trouva fort dépourvue 
Quand la bise fut venue.
Pas un seul petit morceau 
De mouche ou de vermisseau.
Elle alla crier famine 
Chez la fourmi sa voisine,
La priant de lui prêter 
Quelque grain pour subsister
Jusqu’à la saison nouvelle.
“Je vous paierai,â€
lui dit elle,
“avant l’août,
foi d’animal,
Intérêt et principal.â€
La fourmi n’est pas prêteuse;
C’est là son moindre défaut.
“Que faisiez vous au temps chaud?â€
Dit elle à cette emprunteuse
“Nuit et jour à tout venant
Je chantais,
ne vous déplaise.â€
“Vous chantiez?
j’en suis fort aise.
Eh bien!
dansez maintenant.â€

English translation by S N Solomons

The Grasshopper in drowsy song
Had spent the pleasant summer long,
And found herself without a crumb
When winter’s icy blast had come.
Not one small morsel could she spy
Of puny worm or measly fly.

So off she went to cry her want
Straight to her neighbour Madame Ant,
Merely asking for a loan
Of bread or grain to eke her own
Until the plenteous time came round.

“I’ll pay you back, or I’ll be bound
By August, word of animal,
Both interest and principal.â€

The Ants are not a lending lot
Indeed that is their slightest fault.

“What were you doing when ’twas hot?â€
She asked this impecunious sort.
†To all who came, both day and night
I used to sing at every chance.â€

“You used to sing? That’s fine and right!
Well now’s the very time – to dance!â€
©S.N.Solomons.

La Cigale et la Fourmi The Grasshopper and the Ant French narrator Clarinet Bassoon Piano (mp3)
August, word of animal,
Both interest and principal
â€

The Ants are not a lending lot
Indeed that is their slightest fault

$5.50 5.23 € PDF SheetMusicPlus

Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download

SKU: A0.1370910

Composed by David Warin Solomons. 21st Century,Contemporary. 17 pages. David Warin Solomons #955254. Published by David Warin Solomons (A0.1370910).

A setting of the La Fontaine poem La cigale et la fourmi with narrator (in English), clarinet, bassoon and piano

The pdf file contains score and instrumental parts. The narrator should use the score.

(A version with French narrator is also available on this site.)

The Grasshopper in drowsy song
Had spent the pleasant summer long,
And found herself without a crumb
When winter’s icy blast had come.
Not one small morsel could she spy
Of puny worm or measly fly.

So off she went to cry her want
Straight to her neighbour Madame Ant,
Merely asking for a loan
Of bread or grain to eke her own
Until the plenteous time came round.

“I’ll pay you back, or I’ll be bound
By August, word of animal,
Both interest and principal.â€

The Ants are not a lending lot
Indeed that is their slightest fault.

“What were you doing when ’twas hot?â€
She asked this impecunious sort.
†To all who came, both day and night
I used to sing at every chance.â€

“You used to sing? That’s fine and right!
Well now’s the very time – to dance!â€
©S.N.Solomons

Original French version:

La cigale, ayant chanté tout l’été,
se trouva fort dépourvue 
Quand la bise fut venue.
Pas un seul petit morceau 
De mouche ou de vermisseau.
Elle alla crier famine 
Chez la fourmi sa voisine,
La priant de lui prêter 
Quelque grain pour subsister
Jusqu’à la saison nouvelle.
“Je vous paierai,â€
lui dit elle,
“avant l’août,
foi d’animal,
Intérêt et principal.â€
La fourmi n’est pas prêteuse;
C’est là son moindre défaut.
“Que faisiez vous au temps chaud?â€
Dit elle à cette emprunteuse
“Nuit et jour à tout venant
Je chantais,
ne vous déplaise.â€
“Vous chantiez?
j’en suis fort aise.
Eh bien!
dansez maintenant.â€.

The Grasshopper and the ant (La cigale et la fourmi) English narrator, clarinet, bassoon and piano
August, word of animal,
Both interest and principal
â€

The Ants are not a lending lot
Indeed that is their slightest fault

$13.00 12.36 € PDF SheetMusicPlus

Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download

SKU: A0.1370915

Composed by David Warin Solomons. 21st Century,Contemporary. Full Performance. Duration 189. David Warin Solomons #955259. Published by David Warin Solomons (A0.1370915).

A setting of the La Fontaine poem La cigale et la fourmi with narrator (in English), clarinet, bassoon and piano

(A version with French narrator is also available on this site.)

The Grasshopper in drowsy song
Had spent the pleasant summer long,
And found herself without a crumb
When winter’s icy blast had come.
Not one small morsel could she spy
Of puny worm or measly fly.

So off she went to cry her want
Straight to her neighbour Madame Ant,
Merely asking for a loan
Of bread or grain to eke her own
Until the plenteous time came round.

“I’ll pay you back, or I’ll be bound
By August, word of animal,
Both interest and principal.â€

The Ants are not a lending lot
Indeed that is their slightest fault.

“What were you doing when ’twas hot?â€
She asked this impecunious sort.
†To all who came, both day and night
I used to sing at every chance.â€

“You used to sing? That’s fine and right!
Well now’s the very time – to dance!â€
©S.N.Solomons

Original French version:

La cigale, ayant chanté tout l’été,
se trouva fort dépourvue 
Quand la bise fut venue.
Pas un seul petit morceau 
De mouche ou de vermisseau.
Elle alla crier famine 
Chez la fourmi sa voisine,
La priant de lui prêter 
Quelque grain pour subsister
Jusqu’à la saison nouvelle.
“Je vous paierai,â€
lui dit elle,
“avant l’août,
foi d’animal,
Intérêt et principal.â€
La fourmi n’est pas prêteuse;
C’est là son moindre défaut.
“Que faisiez vous au temps chaud?â€
Dit elle à cette emprunteuse
“Nuit et jour à tout venant
Je chantais,
ne vous déplaise.â€
“Vous chantiez?
j’en suis fort aise.
Eh bien!
dansez maintenant.â€

The Grasshopper and the Ant La Cigale et la Fourmi English narrator Clarinet Bassoon Piano (mp3)
August, word of animal,
Both interest and principal
â€

The Ants are not a lending lot
Indeed that is their slightest fault

$5.50 5.23 € PDF SheetMusicPlus

Piano,Violin - Level 4 - Digital Download

SKU: A0.534583

Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583).

Preface:

In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song.

So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA).

 Robert Orledge
Brighton, 19 June 2019



Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles KÅ“chlin in 1973.   Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles KÅ“chlin and Erik Satie, as well as numerous articles, editions and reviews.   As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.




Préface en français :

Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.

Claude Debussy: Sérénade for violin and piano
Violon et Piano

$12.95 12.31 € Violon et Piano PDF SheetMusicPlus

Guitar - Advanced - Digital Download

SKU: ZZ.DZ-4088

Composed by Louis Trépanier. Score. 9 pages. Les Productions d'OZ - Digital #DZ 4088. Published by Les Productions d'OZ - Digital (ZZ.DZ-4088).

ISBN 9782898522055.

August nights can be tinged with a bit of melancholy because the end of the summer approaches. The moon softly glows with nostalgia for a season passing us by. This mood seems to me folded into the Brazilian Bossa Nova, and the Brazilians? term ?saudade?; in this piece I offer up my tribute to one of my favourite composers, Radamés Gnattali (1906-1988), who wrote for every musical situation in his era in Brazil ? from the concert stage to the back alley, and everything in between. Lua para Epilogo de Verão, is dedicated to the Brazilian guitarist Fabio Zanon, who is both a great friend and a tremendous inspiration.
This étude tackles solid chords and contrary motion in the left hand, and, like all the études in this collection, voice separation and phrasing. In measure 24 the guitarist must execute a diagonal barré, where the first finger covers position IV at the first string, and position V at the fifth string, hence the V/IV indication after the barré symbol. The practicalities of navigating through the different chord shapes and rhythms in the piece mean that not all notes can be held for their full, written value. Such discrepancies between the text and the playing are common in this style of music.

Les nuits du mois d?août peuvent contenir une douce mélancolie, à savoir que la fin de l?été approche. La lune luit alors avec une nostalgie pour la saison qui est déjà en train de passer. Cette saveur me semble parfaitement miroitée dans les couleurs de la bossa nova brésilienne et le terme brésilien « saudade » ; dans cette pièce je vous offre mon hommage au style d?un de mes compositeurs préféré, Radamés Gnattali (1906-1988), qui a su créer des musiques pour tous les différents musiciens de ses années au Brésil, de la salle de concert, jusqu?à la ruelle. Lua para Epilogo de Verão est dédié au guitariste brésilien Fabio Zanon, un bon ami, et une grande inspiration.
Cette étude travaille les accords plaqués et divers mouvements contraires à la main gauche, et, comme toutes les études de cette collection, la séparation de voix et le phrasé. À la mesure 24, on doit exécuter un barré en diagonal, où le premier doigt un est à la position IV à la première corde, et à la position V à la cinquième corde, d?où l?indication V/IV suivant le symbole du barré. Pour des raisons pratiques à naviguer les accords et les rythmes de cette pièce, vous verrez qu?il n?est pas toujours possible de tenir toutes les notes pour leur durée complète. Ces différences entre l?écriture et l?exécution sont courantes dans ce style de musique.

Lua para o Epilogo de Verão (Août)
Guitare

$5.95 5.65 € Guitare PDF SheetMusicPlus

Small Ensemble Bass Guitar,Violin - Level 4 - Digital Download

SKU: A0.948105

Composed by Johann Sebastian Bach. Arranged by Sam Bateman. Baroque,World. Score and parts. 33 pages. Sam Bateman #3075312. Published by Sam Bateman (A0.948105).

Sam Bateman a fait cet arrangement en 2012, quand il était toujours à l'école secondaire. (La terminale, pour être plus précis.) C'est un arrangement de l'un des œuvres les plus fameuses de Bach, pour un ensemble qui se compose d'un violon, une guitare et une guitare basse avec 5 cordes. (Si vous possédez pourtant la basse la plus commune avec 4 cordes, vous pouvez jouer quelconques notes qui sont écrites sous la corde mi, une octave plus hautes.)

C'est en fait une actualisation - l'arrangement original ne contient pas nuances, puisque Sam voulait rester fidèle à l'œuvre originale pour orgue. L'idée était pour que les musiciens eux-mêmes pourraient décider à quel fortement qu'ils joueraient. Il y n'avait pas legato dans l'arrangement original non plus, puisque, tandis que Sam savait por quoi legato est (pour couler les notes), il les savait surtout du piano - et parce que le piano est un instrument de clavier (et il manque une roue de tangage, contrairement au synthétiseur), un legato vrai est impossible, et c'est simplement émulé en jouant d'un tenuto sur plusieurs notes, alors Sam présumait à tort que le legato ne sois si important. Bien que Sam jouait le violon quand il était un enfant, il ne se souvient pas d'apprendre legato, et c'est seulement quand il a commencé à prendre des leçons de saxophone qu'il comprenait ce que legato signifie vraiment. En plus, le premier arrangement avait trop contre-mélodies dans les parties de la guitare et le violon, qui, dans cette version, sont soit enlevées, soit transférées à la partie de la basse, pour jouer plus facilement.

En tout cas, quand Sam a téléversé l'arrangement à YouTube, il a reçu beaucoup critique - et il a reçu conseil de plus de sa professeure d'arrangement - ainsi, il a pris les critiques et amélioré l'arrangement comme requis. Ainsi, voici la version nouvelle et améliorée de 2017. Profitez-en!

Aussi, je voudrais pointer que beaucoup des nuances pour cet arrangement sont directement prises de l'arrangement pour orchestre à cordes par Jakub Kowalewski, que vous pouvez trouver à la Librairie Musicale Petrucci, à cette adresse web:
http://imslp.org/wiki/Toccata_and_Fugue_in_D_minor,_BWV_565_(Bach,_Johann_Sebastian)

Notez s'il vous plaît que le français n'est pas ma première langue, ainsi, si vous remarquez erreurs grammaticales, faites le moi savoir s'il vous plaît, et je les corrigerai dès que possible.

Click here for the English version: http://www.sheetmusicplus.com/title/toccata-and-fugue-in-d-minor-bwv-565-digital-sheet-music/2041036

Toccata et fugue en ré mineur (BWV 565)
$7.99 7.59 € PDF SheetMusicPlus

Instrumental Duet,Piano Instrumental Duet,Piano - Level 4 - Digital Download

SKU: A0.561517

Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Country,Instructional. 55 pages. Han-Ki Kim #170955. Published by Han-Ki Kim (A0.561517).

“Korean Simple Suite†No.3 For Piano Trio Op.273D “Happy Wedding†It is a work depicting the wedding ceremony of the bride and groom held in a traditional Korean front yard and the surrounding scenery. as far as melody is concerned, the traditional five notes of Korea, “Do.re.mi.sol.la.†are mainly used. It consists of five movements as follows: 1. The Front Yard 2. Yeonji Gonzi 3. Joyful Dance 4. Waiting (Longing) 5. The Bride and Groom Movement 1, The Front Yard: In G minor in 8/12 time, it is a short song with a bright atmosphere. The front yard is a friendly place for villagers' gatherings and events. Movement 2, Yeonzi – Gonzi: In G major in 4/4 time, natural harmonics are used to describe the mysterious oriental atmosphere. The meaning of Yeonji Gonji is the red dot on the cheeks and forehead of the bride in a traditional wedding ceremony. Movement 3, Joyful Dance: 3/4 time B flat major, composed in ABA format, expressed the joy of dancing in Korea. Movement 4, Longing: In G minor in 6/4 time, we tried to express oriental waiting. Movement 5, The Bride and Groom : It is composed of 4/4 time and 6/4 time, and like the title of the title of Groom and Bride, it shows the contrasting character of liveliness and calm. It was composed in a rondo style that goes back and forth between D minor and F major. Attached musicfile is only 1st movement, it's just for a reference.

Korean Simple Suite No.3 "Happy Wedding" (For Piano Trio)

$16.90 16.06 € PDF SheetMusicPlus

Piano,Viola - Level 4 - Digital Download

SKU: A0.557046

Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Wedding. Score and part. 36 pages. Han-Ki Kim #166508. Published by Han-Ki Kim (A0.557046).

“Korean Simple Suite†No.3 For Viola and Piano Op.273C As far as melodies are concerned, the traditional 5 notes of Korean “Do.Re.Mi.Sol.La†are mainly used. It consists of five movements as follows: I tried to express the wedding ceremony of the bride and groom held in a traditional Korean front yard and the surrounding scenery. So, this piece's nick name is Happy Wedding. And Attached music file is only 1st mov. played by Violin just for a reference. 1. The Front Yard 2. Yeonji Gonzi 3. Joyful Dance 4. Waiting (Longing) 5. The Bride and Groom Movement 1, The Front Yard: In G minor in 8/12 time, it is a short song with a bright atmosphere. The front yard is a friendly place for villagers' gatherings and events. Movement 2, Yeonzi – Gonzi: In G major in 4/4 time, natural harmonics are used to describe the mysterious oriental atmosphere. The meaning of Yeonji Gonji is the red dot on the cheeks and forehead of the bride in a traditional wedding ceremony. Movement 3, Joyful Dance: 3/4 time B flat major, composed in ABA format, expressed the joy of dancing in Korea. Movement 4, Longing: In G minor in 6/4 time, we tried to express oriental waiting. Movement 5, The Bride and Groom : It is composed of 4/4 time and 6/4 time, and like the title of the title of Groom and Bride, it shows the contrasting character of liveliness and calm. It was composed in a rondo style that goes back and forth between D minor and F major.

Korean Simple Suite No.3 "Happy Wedding"(For Viola and Piano)
Alto, Piano

$14.90 14.16 € Alto, Piano PDF SheetMusicPlus

String Orchestra - Level 3 - Digital Download

SKU: A0.911152

By Bastille. By Daniel Campbell Smith. Arranged by Paul Trapkus. Rock. Score and parts. 22 pages. Paul Trapkus #6287901. Published by Paul Trapkus (A0.911152).

A meticulous arrangement of Things We Lost in the Fire as recorded by Bastille for string orchestra, piano, and optional drum set without vocals. The arrangement is a karaoke version so that you can add a singer for a performance closely resembling the original song. The included optional drum set part is not shown in the score. Bowings have been carefully added in all parts.

More string orchestra arrangements by Paul Trapkus available at https://www.sheetmusicplus.com/publishers/paul-trapkus/19286 including:

Take On Me • Africa • Never Gonna Give You Up • Ghostbusters • Secrets • Final Countdown • Darude Sandstorm • Dancing Queen • Undisclosed Desires • Some Nights • The Office Theme • Seal Lullaby • Only Time • Pompeii • Radioactive • Paradise • May It Be • Laughter Lines • Things We Lost in the Fire • All I Ever Wanted • La Valse d'Amelie • Young and Beautiful • Raging Fire

Things We Lost In The Fire
Orchestre à Cordes
Bastille
$49.99 47.51 € Orchestre à Cordes PDF SheetMusicPlus






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