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Alto Saxophone,Piano - Level 1 - Digital Download SKU: A0.548709 Composed by Martin Luther. Arranged by James M. Guthrie. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411721. Published by jmsgu3 (A0.548709). Out of the Depths I Cry to You by Martin Luther arranged for alto sax & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
Luther: Out of the Depths for Alto Sax & Piano
Saxophone Alto et Piano

$24.95 21.28 € Saxophone Alto et Piano PDF SheetMusicPlus

Flute,Piano - Level 1 - Digital Download SKU: A0.548707 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411715. Published by jmsgu3 (A0.548707). Out of the Depths I Cry to You by Martin Luther arranged for alto flute & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms.Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
Luther: Out of the Depths for Alto Flute & Piano
Flûte traversière et Piano

$24.95 21.28 € Flûte traversière et Piano PDF SheetMusicPlus

Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1491345 By Various. By Michael Korb and Ulrich Roever. Arranged by Eric Weber. 21st Century,A Cappella,Celtic,Chamber,Christian,Irish. 5 pages. Eric Weber #1068084. Published by Eric Weber (A0.1491345). Highland Cathedral is a popular tune for the Great Highland Bagpipe, composed by German musicians Ulrich Roever and Michael Korb in 1982 for a Highland Games held in Germany. It has been proposed as a Scottish national anthem to replace the unofficial anthems Scotland the Brave and/or Flower of Scotland. In this arrangement for four voices (SATB) you will hear the spirit of the Scottish Highlands and feel the sea breeze on your face. The arrangement builds slowly from a bourdon fith to a tutti choir and should be sung in a church with plenty of reverb for maximum effect.Highland Cathedral ist eine Dudelsackmelodie, die von den Deutschen Ulrich Roever und Michael Korb 1982 in Deutschland komponiert wurde. Als Hymne für die Highland Games in Deutschland geschrieben, begeisterte sie auch die Schotten, die sie als Nationalhymne vorschlugen. In diesem Arrangement kann man die Atmosphäre der schottischen Highlands hören und die Meeresbrise auf der Haut spüren. Das Arrangement baut sich langsam von einer Bordun-Quinte zu einem Tutti-Chor auf und sollte für maximale Wirkung in einer Kirche mit viel Hall gesungen werden.
Highland Cathedral
Chorale SATB
Various
$2.99 2.55 € Chorale SATB PDF SheetMusicPlus

Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 2 - Digital Download SKU: A0.1454080 By Pentatonix. By Buddy Greene and Mark Lowry. Arranged by J Richardson. Advent,Chamber,Christmas,Pop,Spiritual. Brass Band. 29 pages. Jenny Richardson #1033254. Published by Jenny Richardson (A0.1454080). Experience the powerful and evocative rendition of Mary, Did You Know? as you've never heard it before, reimagined for a full brass band. Inspired by Pentatonix's hauntingly beautiful a cappella version, this arrangement brings a new dimension to the beloved Christmas classic, blending rich, resonant brass tones with intricate harmonies and dynamic contrasts.From the moment the first note sounds, you'll be captivated by the lush, full-bodied textures that only a brass band can provide. The arrangement opens with a serene and introspective solo, gradually building as each section of the band joins in, creating a tapestry of sound that is both majestic and intimate.Highlights include: Soulful Solos: Featuring emotive solos for flugelhorn and euphonium that echo the poignant vocal lines of the original. Rich Harmonies: The arrangement masterfully captures the intricate harmonies of Pentatonix, translated into the warm, powerful voices of the brass ensemble. Dynamic Interest: Experience the swelling crescendos and dramatic pauses that enhance the narrative of the song, leading to a powerful and triumphant climax. Versatile Performance: Perfect for holiday concerts, church services, and festive events, this arrangement is designed to showcase the versatility and expressive range of a brass band. Whether you're a conductor looking to add a unique piece to your repertoire, a brass band enthusiast, or simply a lover of Christmas music, this arrangement of Mary, Did You Know? promises to deliver an unforgettable listening experience. Elevate your holiday season with the profound beauty and majestic sound of a brass band performance that pays homage to one of the most touching Christmas songs of our time.
Mary, Did You Know?
Pentatonix
$30.00 25.59 € PDF SheetMusicPlus

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.775985 Composed by Carson Cooman. Contemporary,Instructional. Octavo. 22 pages. Musik Fabrik Music Publishing #2035131. Published by Musik Fabrik Music Publishing (A0.775985). In the Midst of Wild Being (2007) for SATB chorus, horn, and harp was commissioned by the King’s Chapel Concert Series, Heinrich Christensen, director, with the support of Choral Arts New England. The work was written in memory of American composer Daniel Pinkham (1923–2006), longtime director of music at King’s Chapel. The texts, written by American poet Elizabeth Kirschner, are directly inspired by the landscape of New England-though the sentiments reflected by the poems can apply to many places. Throughout, the focus is on the chorus, whose music is colored by the horn and harp. The Garden begins with an extended, unfolding introduction for horn and harp; the pace is that of a slow, steady walk. Though the pace remains, the music raises itself to rich climaxes in celebration of the verdant landscape. The Sea is a light and airy dance featuring a bouncy melodic theme that returns a number of times. The Forest is rich and expressive, reflecting true oneness with the landscape.
Carson Cooman - In the Midst of Wild Being (2007) for SATB chorus, horn, and harp, full score
Chorale SATB

$19.95 17.02 € Chorale SATB PDF SheetMusicPlus

3, 4 or 5 octaves handbells - Level 4 - Digital Download SKU: C7.CGB634 Andante and Spirituoso. Composed by Cathy Moklebust. General, Pentecost. Master Ringer. Score. 12 pages. Chorister's Guild - Digital #CGB634. Published by Chorister's Guild - Digital (C7.CGB634). UPC: 749193014837.Level 4 • Based on the themes of nurture and growth, this original composition begins very simply, developing in both richness and complexity throughout. After a very straightforward statement of the melody and a spirited, fiery section, the treble and bass reverse roles, with the bass bells ringing the richly harmonized, rhythmic melody and the upper trebles ringing a light sixteenth-note pattern. After a shimmering climax, the piece concludes with a quick, energetic finish. Appropriate for Pentecost or general use in worship or concert.
Guiding Spirit
Cloches

$4.95 4.22 € Cloches PDF SheetMusicPlus

3, 4, or 5 octaves handbells - Level 2 - Digital Download SKU: C7.CGB627 Composed by A Steven Taranto. General. Score. 8 pages. Chorister's Guild - Digital #CGB627. Published by Chorister's Guild - Digital (C7.CGB627). UPC: 749193014776.Level 4 * Based on the themes of nurture and growth, this original composition begins very simply, developing in both richness and complexity throughout. After a very straightforward statement of the melody and a spirited, fiery section, the treble and bass reverse roles, with the bass bells ringing the richly harmonized, rhythmic melody and the upper trebles ringing a light sixteenth-note pattern. After a shimmering climax, the piece concludes with a quick, energetic finish. Appropriate for Pentecost or general use in worship or concert.
Bell Prayer
Cloches

$4.50 3.84 € Cloches PDF SheetMusicPlus

String orchestra SKU: M2.MOS-40033-70 Mit Adagio und Fuge c-Moll. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Set of string parts. Möseler Verlag #MOS 40033-70. Published by Möseler Verlag (M2.MOS-40033-70). ISBN 9790203742333.Durch die Verbindung mit dem Baron van Swieten kam Mozart in intensiven Kontakt mit den Werken von Johann Sebastian Bach und Georg Friedrich Handel und dadurch zur Auseinandersetzung mit der Fugenkomposition als musikalische Form und stilistisches Ausdrucksmittel. Die Fuge KV 401 (der Schluss ist von Maximilian Stadler erganzt) ist original fur Klavier zu zwei Handen (wegen seiner enormen Schwierigkeit spater fur Klavier zu vier Handen eingerichtet). Adolf Hoffmann hat sie, analog Mozarts eigenem Beispiel (s.u.), fur Streichorchester instrumentiert. Ein strenges Werk, das Anklange an den Contrapunctus I in Bachs Kunst der Fuge aufweist. 1788 hat Mozart seine fur zwei Klaviere komponierte Fuge KV 426 fur Streichorchester eingerichtet (KV 546) und ihr ein Adagio vorangestellt, das zu seinen erschutterndsten Kompositionen zahlt. Die franzosische Punktierung der Anfangstakte deutet bereits die grosse seelische Spannung des Satzes an. Aus Mozarts letzten Lebensjahren stammt die Fantasie KV 606, ein Stuck fur ein Orgelwerk in einer Uhr, die strengen Satz und Sonatenform verschmilzt. Sie ist ebenfalls von Adolf Hoffmann fur Streicher instrumentiert.
Zwei Fugen und eine Fantasie

$55.95 47.72 € PDF SheetMusicPlus

String orchestra SKU: M2.MOS-40033 Mit Adagio und Fuge c-Moll. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Score. 30 pages. Möseler Verlag #MOS 40033. Published by Möseler Verlag (M2.MOS-40033). ISBN 9790203740339.Durch die Verbindung mit dem Baron van Swieten kam Mozart in intensiven Kontakt mit den Werken von Johann Sebastian Bach und Georg Friedrich Handel und dadurch zur Auseinandersetzung mit der Fugenkomposition als musikalische Form und stilistisches Ausdrucksmittel. Die Fuge KV 401 (der Schluss ist von Maximilian Stadler erganzt) ist original fur Klavier zu zwei Handen (wegen seiner enormen Schwierigkeit spater fur Klavier zu vier Handen eingerichtet). Adolf Hoffmann hat sie, analog Mozarts eigenem Beispiel (s.u.), fur Streichorchester instrumentiert. Ein strenges Werk, das Anklange an den Contrapunctus I in Bachs Kunst der Fuge aufweist. 1788 hat Mozart seine fur zwei Klaviere komponierte Fuge KV 426 fur Streichorchester eingerichtet (KV 546) und ihr ein Adagio vorangestellt, das zu seinen erschutterndsten Kompositionen zahlt. Die franzosische Punktierung der Anfangstakte deutet bereits die grosse seelische Spannung des Satzes an. Aus Mozarts letzten Lebensjahren stammt die Fantasie KV 606, ein Stuck fur ein Orgelwerk in einer Uhr, die strengen Satz und Sonatenform verschmilzt. Sie ist ebenfalls von Adolf Hoffmann fur Streicher instrumentiert.
Zwei Fugen und eine Fantasie

$22.95 19.58 € PDF SheetMusicPlus

Medium voice and piano - intermediate - Digital Download SKU: S9.Q46013 Composed by Max Kowalski. This edition: Sheet music. Downloadable. Op. 2. Duration 28 minutes. Schott Music - Digital #Q46013. Published by Schott Music - Digital (S9.Q46013). German.Max Kowalski (1882–1956) was a full-time lawyer who never gave up on his passion for music: singing lessons during his law studies, conducting and counterpoint classes, among others, at Dr. Hoch’s Konservatorium in addition to his work at his own law office in Frankfurt. While studying, he already published his first works; 15 song cycles were published until 1933. In the years that followed, the Jewish-born Kowalski was restricted in working both as a lawyer and as a composer due to his persecution by the National Socialists. In 1938 he was arrested, deported to the concentration camp of Buchenwald and finally forced to flee into exile in London. Contemporaries called Kowalski a lyricist among the composers. The choice of texts of his songs shows his great knowledge and love of German literature. For example, he set to music texts by Friedrich Hölderlin or Rainer Maria Rilke, but also Indian or Japanese poems. Kowalski left numerous unpublished songs which are published by Schott Music in a two-volume edition: Volume 1 (ED 22586) contains his Jewish songs (1935-37), the Heinrich Heine cycle (1937) and all English-language songs (1941-46). Volume 2 (ED 22587) contains Kowalski's late works: the songs based on texts by Friedrich Hölderlin (1950) and the Geisha Lieder according to Klabund (1951).
Songs
Voix moyenne, Piano

$21.99 18.76 € Voix moyenne, Piano PDF SheetMusicPlus


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