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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.904857 Composed by Giancarlo Bigazzi, Giuseppe Beppe Dati, and Marco Falagiani. Arranged by Marco Borsoi. Pop. Octavo. 27 pages. Marco Borsoi #6167397. Published by Marco Borsoi (A0.904857). Gli uomini non cambiano è una canzone scritta da Giancarlo Bigazzi, Marco Falagiani e Giuseppe Beppe Dati. Fu presentata dalla stupenda voce di Mia Martini al 42o Festival di Sanremo, dove si piazzò al secondo posto nella classifica finale.Il brano racconta le delusioni di una donna nei rapporti con le figure maschili; a partire dal padre che, nonostante gli sforzi, non è mai riuscita a conquistare fino ai falsi e presunti amori. Storie nate dalla voglia di scappare da una famiglia divenuta ostile ma che evidenziano l'ingenuità di una ragazzina presa in giro e abbandonata dal playboy di turno. Sogni d’amore svaniti, lacrime versate e sensi colpa per aver stupidamente abboccato alle bugie di chi si diceva innamorato per poi andare a ridere di lei con gli amici del bar. Sconfitta da queste delusioni, la ragazza divenuta donna non riesce più a dare fiducia agli uomini; indurisce il proprio carattere diventando fredda e diffidente in ogni nuovo rapporto. Nel finale, però, rivolgendosi all’attuale compagno, la donna chiarisce che l'amore vero può esistere perché un uomo può davvero cambiare se innamorato.L’arrangiamento, per 5 voci miste (SMzATB) prende spunto dalla versione di Alessandro Cadario di Almeno tu nell’universo per coro femminile.Il brano parte dunque con un unisono di voci femminili che via via si aprono in 3 sezioni.Il piano regge l’armonia in queste prime 2 strofe.Gli uomini entrano solo nella battuta che precede il ritornello per sostenere il crescendo sulla dominante minore che risolve nella tonica maggiore.Nel ritornello l’armonizzazione è a 4 voci (SATB) con finale all’unisono con accordo vuoto del pianoforte per rendere la tristezza del testo (vanno a ridere di te).La seconda parte è pensata invece come un accompagnamento strumentale delle voci che alternandosi creano un arpeggio armonico. Al termine del secondo ritornello, un rallentato deciso e una modulazione secca che determina la revisione dell’andamento armonico delle parti centrali. Piccolo gioco con le parole a batt. 60 e finale classicheggiante.
Gli Uomini non Cambiano (SSATB + Piano)
Chorale SATB

$9.99 8.54 € Chorale SATB PDF SheetMusicPlus

SATB choir (choir divisi) unaccompanied - Moderately Easy - Digital Download SKU: MQ.8248-E Composed by Anthony Antolini and Pavel Grigorievich Chesnokov. Arranged by Anthony Antolini. Advanced/Collegiate. 20th Century, Communion. Instrument parts. 8 pages. E. C. Schirmer Music Company - Digital #8248-E. Published by E. C. Schirmer Music Company - Digital (MQ.8248-E). English, Slavonic.Nye ímamï inïya pómoshchi comes from a set of ten communion hymns, Opus 25. It is technically a kontakion, (a hymn sung in commemoration of a feast day, whether referring to Christ, the Virgin Mary, or to a saint). Nye ímamï inïya pómoshchi is intended to be sung for the feast day commemorating an icon of the Virgin entitled “The joy of all who sorrow,†(Ð’Ñех ÑкорбÑщих РадоÑть|Vsekh skorbyashchikh Radost') observed on October 24 in the Orthodox Church calendar. The author of the text is unknown. In contemporary church practice, this work is sometimes sung during the communion of the clergy. Although other pieces in Opus 25 are based on traditional church chants, Nye ímamï inïya pómoshchi contains original music that is not based on any preexisting chant. The present edition is based on the first edition published in Moscow by Pyotr Ivanovich Jurgenson. The keyboard reduction has been modified from the Jurgenson edition. Russian Orthodox performance practice forbids the use of musical instruments to accompany church singing. Organ accompaniment, if used, should be unobtrusive. The Jurgenson edition includes Chesnokov's use of a quarter note without metronome marking. This indicates that the pulse is in a moderato tempo in quarter notes. A tempo of approximately 69 to the quarter note is suggested. The Jurgenson edition has inconsistent dynamic markings in various parts and text appears only below the soprano and tenor parts. For clarity and convenience, these indications have been included in each staff in the present edition. This scholarly performance edition includes notes concerning the history of Chesnokov and this piece, performance notes, the editorial method of the English singing version, and a pronunciation guide for the Slavonic transliteration.
For Us There Is No Other Help but Thee (Nye ímamï inïya pómoshchi) (Downloadable)
Chorale SATB

$2.25 1.92 € Chorale SATB PDF SheetMusicPlus

Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher.  The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
Thierry Pélicant: Concerto for contrabass and orchestra, score only
Orchestre

$38.95 33.29 € Orchestre PDF SheetMusicPlus

Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher.  The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
Orchestre

$29.95 25.6 € Orchestre PDF SheetMusicPlus

Baritone voice solo and TTBB choir unaccompanied - Moderately Easy - Digital Download SKU: MQ.1.3428-E Composed by Alice Parker and Naomi Shemer. Arranged by Alice Parker. Advanced/Collegiate. Secular, 21st century. Octavo. 16 pages. Duration 6 minutes, 30 seconds. Galaxy Music Corporation - Digital #1.3428-E. Published by Galaxy Music Corporation - Digital (MQ.1.3428-E). Hebrew.This arrangement was commissioned jointly by Brad Spencer, Scott Spencer, and the Washington Men's Camerata and first performed by the Camerata on June 13, 2015, at the John F. Kennedy Center for the Performing Arts in Washington, D.C. Naomi Shemer wrote this lovely poem honoring the fabled city, Jerusalem. Its history and mystery are evoked in each verse and in the passionate refrain. At the beginning, Jerusalem is seen asleep, alone, guarding the Temple Wall at its center. Then we picture a deserted, conquered city, empty and desolate. In the third verse, the writer reveals herself as the latest and least of all the notable scribes who have invoked the city, those writers of magnificent Psalms, odes and poems. At the end, people have returned to the city, enlivening its streets and neighborhoods, adding new chapters to its story. Naomi Shemer's music, with its mixture of nostalgia, melancholy, and desire, lifts her verses to memorable phrases: one does not want the song to end. In performing the work, follow the given dynamic markings and allow the song to slowly accumulate dramatic tension, saving the climax for the final refrain. -Alice ParkerDuration: 6:30.
Yerushalayim Shel Zahav: (Jerusalem of Gold) (Downloadable)

$2.85 2.44 € PDF SheetMusicPlus

Concert Band - Level 5 - Digital Download SKU: A0.1027794 Composed by Igor Musteata Morarencu. Concert,Contemporary,Standards,World. Score and parts. 137 pages. Igor Musteata Morarencu #2966835. Published by Igor Musteata Morarencu (A0.1027794). This cycle of three pieces for violoncello and winds is a fresh take on the traditional instrumental concerto. Each of the pieces explores a different aspect of the unconventional instrumentation, blending the timbres of the ‘cello, and the wind ensemble. The first piece (Concerto Grosso) features interactions between the instruments where the winds assume organ-like quality. In the second piece (Cancion de Cuna) an elegiac ‘cello lament is supported by the lacy accompaniment of the upper winds. The third piece (Rondo-Cancan) spoofs a third movement of a concerto, giving a humorous and irreverent treatment to quotations taken from music of various genres.
Three Pieces for Violoncello and Winds
Orchestre d'harmonie

$97.95 83.73 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 5 - Digital Download SKU: A0.1027796 Composed by Igor Musteata Morarencu. Concert,Contemporary,Standards,World. Score and parts. 71 pages. Igor Musteata Morarencu #2968059. Published by Igor Musteata Morarencu (A0.1027796). This cycle of three pieces for violoncello and winds is a fresh take on the traditional instrumental concerto. Each of the pieces explores a different aspect of the unconventional instrumentation, blending the timbres of the ‘cello, and the wind ensemble. The first piece (Concerto Grosso) features interactions between the instruments where the winds assume organ-like quality. In the second piece (Cancion de Cuna) an elegiac ‘cello solo is supported by the lacy accompaniment of the upper winds. The third piece (Rondo-Cancan) spoofs a third movement of a concerto, giving a humorous and irreverent treatment to quotations taken from music of various genres. Demo sound file includes excerpts from each piece.
Three Pieces for Violoncello and Winds (Score)
Orchestre d'harmonie

$12.95 11.07 € Orchestre d'harmonie PDF SheetMusicPlus


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