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Instrumental Duet Euphonium,Instrumental Duet,Tuba - Level 4 - Digital Download SKU: A0.787300 Composed by Greg Bartholomew. 20th Century,Concert,Contemporary,Standards. Score and parts. 15 pages. Burke & Bagley #10635. Published by Burke & Bagley (A0.787300). An arrangement for euphonium & tuba of a duet originally composed for french horn & tuba, and also available for cello & double bass or as a duet for two horns. Duration approximately 8 minutes. Comments on the arrangement for Cello & Double Bass from the judges of the 2010 Recital Music Double Bass Composition Competition: This is an interesting work, exploring a range of colors and textures. The bass part, on the whole, uses the orchestral range of the instrument and would offer few technical problems for the good intermediate bassist. The double bass is used well, as both soloist, accompanist and equal partner, and the contrast of arco and pizzicato create new and interesting textures. The contrasting musical ideas are effective, and the use of solos, question and answer, and unified rhythms help to maintain interest for players and audiences alike. The cello and double bass duo is a popular ensemble with bassists and this piece would fit easily into any recital and for any audience. The changing tonalities keep the piece alive and alert. Conversation in Orange & Brown doesn't outstay its welcome and would be accessible to many musicians.
Conversation in Orange & Brown for Euphonium & Tuba
Euphonium, Tuba (duo)

$15.00 12.96 € Euphonium, Tuba (duo) PDF SheetMusicPlus

Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1130066 By Fletcher Henderson And His Orchestra. By Clarence Williams. Arranged by Peter Stöve. 20th Century,Jazz. Score and parts. 84 pages. Peter Stove #730446. Published by Peter Stove (A0.1130066). Peter Stöve ‘What If Benny Goodman…’ series, Vol. 3! (A take-off on events that could have happened with the Benny Goodman Orchestra’s book of arrangements if things in jazz history had taken another turn). As jazz history books like Gunther Schuller’s tell us, Benny Goodman’s rendition of Jelly Roll Morton’s ‘King Porter Stomp’ in the arrangement of Fletcher Henderson ‘ushered in the Swing Era’. That this tune already had a long and venerable career was obvious to every jazz lover: starting with Morton’s own recording from 1923, it was revived on a regular basis by Fletcher Henderson for his orchestras of the ‘twenties and ‘thirties. He then adapted the tune for the Benny Goodman Orchestra, which made it a hit in 1935. And from that moment on, the tune stayed popular: in 1975 it was recorded by the Gil Evans Orchestra for the album ‘There Comes A Time’. But during the ‘twenties, Henderson picked up more ‘jazz and stomp’-tunes (as opposed to the Tin Pan Alley/Broadway fare) and had them arranged for his orchestra. One such example is a tune credited to pianist/bandleader/businessman Clarence Williams (although other sources state that it was actually written by Joseph Joe Jordan, one of the early ragtime ‘professors’). That is the composition ‘Hop Off’, a very swinging, hard-driving multi-strain tune. Henderson recorded it in 1927. However, unlike ‘King Porter Stomp’, Henderson never chose to ‘adapt’ this tune for his ‘thirties swing-style orchestra, and so it never became a part of the Goodman Orchestra’s band book. What if Henderson had done so, and in 1935 had handed over the tune to Goodman as an addition for his ‘Let’s Dance’-library? ‘Hop Off’ is presented here as a piece that could have been a cornerstone of the Goodman band library. Based on the 1927 Henderson arrangement, it juxtaposes the two main strains of the original composition for maximum variety. Plenty of breaks, stoptime-sections and other ‘hot’ stuff. Scored for the line-up of the Benny Goodman Orchestra of 1935: solo clt/2 as/2 ts/3 tpt/2 trb/rhy. Tpt 1 to Eb3. Solo’s for clarinet, tenor sax 1, tpt 2, trb 1 and a brief four-bar spot for the drummer at the end. If your band is able to play ‘King Porter Stomp’, this tune should cause no problems. The only exception is the presence of a solo clt part. The clarinet soloist must be a first-class ‘BG-wannabe’: fluent soloist, comfortable in the upper register. Must be able to be heard over a shouting ensemble chorus. If your band has such a player: have fun!
Hop Off
Ensemble Jazz
Fletcher Henderson And His Orchestra
$49.99 43.2 € Ensemble Jazz PDF SheetMusicPlus

Small Ensemble Alto Saxophone,Baritone Saxophone,Piano,Voice - Level 3 - Digital Download SKU: A0.726289 Composed by Ludwig van Beethoven. Arranged by Anne L Christopherson GRSM ARCM. Classical,Concert,Folk. Score and parts. 10 pages. Music-Scores.com #6672499. Published by Music-Scores.com (A0.726289). The Lovely Lass of Inverness is a wonderful setting of Robert Burns' words, and it tells of a girl's anguish, after she lost her father, 3 brothers and her lover in the Battle of Culloden. It can be performed without the Alto Sax and Baritone Sax if necessary, without altering the character of the music.A perfect song for Burns Night which is 25th January.This song is a product of Beethoven's great interest in folk songs, and his collaboration with a Scottish publisher, George Thompson. The were huge problems in sending the completed compositions from Vienna to Edinburgh during the Napoleonic Wars, and the first batch took 2 years to arrive.Duration: about 2 minutes, 30 seconds.Prepared by Anne L. Christopherson at www.music-scores.com.
The Lovely Lass of Inverness, Op. 108 - Voice, Alto Sax, Baritone Sax and Piano

$3.95 3.41 € PDF SheetMusicPlus

Easy Guitar (with TAB) - Level 1 - Digital Download SKU: A0.1047465 By Dan Jones (www.danjonesguitarist.com). By Dan Jones. Blues,Folk,Rock. Tablature. 5 pages. DanJonesGuitarist #652027. Published by DanJonesGuitarist (A0.1047465). Three Pieces for Beginner Guitarists (Acoustic or Electric) by Dan Jones Presented in notes, TAB and easy chords (www.danjonesguitarist.com) As an active guitar teacher, I find that many beginner pupils want to learn either acoustic (steel string) guitar or electric guitar. I have also found a lack of quality resources in these styles which have musical interest, and which lay out some of the necessary technical and musical foundations for future learning. I composed these three little pieces for my own young students. They are played by those using their right-hand fingers, and a plectrum and I’ve found them to be very popular in both lessons and performance. The pieces can be learnt in any order (I have a slight preference for starting my pupils with D-Day Rock - the third in the collection). Below is an outline of the pedagogy behind them (1) Sore Finger Blues This is a simple twelve-bar blues which uses a combination of open strings and notes at the third and second frets. It can be played with a straight or swung rhythm. It is effective at a slow tempo for those needing time to place the fretting hand fingers. The main technical challenge is in bars 10 and 22 where the player moves the third finger between the G and A on string 1. Although this is traditionally an advanced technique, I’ve found my students find it comfortable, as long as the fingering outlined in the notes is followed. The chords are dominant (with major thirds). These clash against the minor pentatonic scale in a way which is typical of the style. The chords are quite simple for beginners. I have opted for a D5 power-chord in bars 9 & 21 which is easier than the usual D chord (which also works perfectly well). Plectrum players should be sure to anchor the plucking hand, either with the side of the hand resting on the bridge, or a finger against the scratch plate of the guitar. Fingerstyle players can anchor either with a finger touching the scratch plate of the guitar, or by resting the thumb on a bass string when the fingers are plucking, or vice versa. This is more typical of classical style. (2) Cross-String Traffic This piece was conceived as a fingerstyle piece, although it can be played using a plectrum. The challenge for plectrum players is to cross the strings smoothly. It is for this reason that the fretting hand is relatively simple so that learners can concentrate on the plucking hand. Players are also encouraged to press down the index finger on string 2 at the correct angle to allow the first string to resonate. Chords have once again been chosen to suit less-experienced fingers; therefore, I have opted for Dm6 instead of the more common Dm (a very tricky chord for beginners). Players should go for maximum resonance and notes played at fret 3 could be fretted with either fingers 3 or 4. (3) D-Day Rock This piece is made nearly entirely of open strings and third fret notes. Where there is string crossing, the music allows the player ‘thinking time’ to change accordingly. Teachers and learners can decide with which finger to press the third fret notes. The rhythmic complexities from bar 13 to the end pose no problems once players have the sound of the piece in their ear. Once again, chords have been selected for ease of playing. The Gm/D chord can be played with a 3-string barre (often quite easy for beginners where no fretted bass note is required) or using three separate fingers. The pedal D sounds effective musically. I have presented these pieces as ensemble works with large groups of beginners. Players and audiences alike have been very receptive! For a wealth of music for beginners, ensembles and advanced players, please visit www.danjonesguitarist.com. A YouTube link to a film of the pieces will be uploaded before the end of June 2022.
Three Pieces for Beginner Guitarists (Acoustic or Electric)
Guitare notes et tablatures
Dan Jones (www danjonesguitarist
$4.95 4.28 € Guitare notes et tablatures PDF SheetMusicPlus

Large Ensemble Bass Guitar,Bassoon,Cello,Double Bass,Flute,Marimba,Piano,Recorder,Tuba,Ukulele,Vibraphone,Violin,Xylophone - Level 2 - Digital Download SKU: A0.563842 Composed by Henry Purcell, Jeremiah Clarke, Peter Ilyich Tchaikovsky, and Wolfgang Amadeus Mozart. Arranged by Austin Ralphson. Baroque,Classical,Instructional,Romantic Period,Standards. Score and parts. 117 pages. Austin Ralphson #5214635. Published by Austin Ralphson (A0.563842). This pack contains four pieces of music and it enables all students within a classroom, regardless of ability, to make clear progress on one or more of the parts provided:* Trumpet Voluntary* Eine Kleine Nachtmusik (Allegro)* Rondo from 'Abdelazer'* March Of The Toy Soldiers from 'The Nutcracker'As an experienced classroom music teacher, two of the main difficulties I have faced have been:* having the time to arrange music for standard classroom instruments such as keyboards, ukuleles, guitars, tuned percussion etc.* finding suitable arrangements of Western Classical pieces to contribute to a broad and balanced curriculumThe Classroom Ensemble Series meets both of these problems head on, providing approachable yet challenging arrangements which are tailor-made for a large classroom ensemble. Each piece includes a score and parts as follows:Melody (treble clef)Melody plus note names (treble clef)Melody (ukulele tab)Melody (guitar tab)Bass part (bass clef)Bass part plus note names (bass clef)Bass part (bass guitar tab)Easy piano part (treble and bass clefs)Standard piano part (treble and bass clefs)Chords (chord shapes with chord names, e.g. Dm)Chords (ukulele tabs and chord shapes)Chords (guitar tabs and chord shapes)These arrangements enable all students within a classroom, regardless of ability, to make clear progress on one or more of the parts provided. You can use the YouTube videos at the link below within the classroom, helping the students to play together and freeing you up to teach. Or you can lead the session yourself.Backing tracks for all pieces in this series can be found at https://www.youtube.com/channel/UCPhyKv6OeJfWvkmNIkzAjhAPrinting and CopyingThe purchaser may print or copy all pages of this resource as required in order to facilitate a performance, but must not distribute to others.This pack provides excellent value for money - look out for the other volumes as well!
VOLUME 3: Western Classical Music Classroom Ensemble Pack (4 pieces) with backing tracks

$14.99 12.95 € PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download SKU: A0.596525 Composed by Juan María Solare. 20th Century,Concert,Contemporary,Latin. Score. 7 pages. Juan Maria Solare #3621769. Published by Juan Maria Solare (A0.596525). The piano piece Bad Hombres Jumping Over my Wall While Yelling '¡Arriba!, ¡Arriba!' was composed in Bremen, Germany, in August 2018, for the project 45miniatures by pianist Nick Phillips. The overall character of this piece responds vaguely to Nicholas Phillips' suggestion: playful/childish outbursts, in the form of heckler chords or bad hombre-like non-chord tones. The title depicts a surrealistic, clownesque, ridiculous situation; a dream for some and a nightmare for others.For those totally unaware: the expression Bad Hombres was used by president Donald Trump during the third 2016 United States Presidential Debate. While answering a question about his immigration policy, Donald Trump stated that there were a lot of drug lords in the United States and that they needed to be removed. He concluded his comment by saying we have some bad hombres here and we have to get them out. (thus implying that the responsible of US' drug problems are Latinos)Character and moods: happy, merry, mysterious. About the performance All the piece consists of mini clusters (two minor seconds). The notation can be sometimes obscure (due to the many unavoidable accidentals). To facilitate the reading (deciphering) of the score, the easiest is to follow the highest note of each cluster: they usually form a simple chord. For instance, bar 17 is (melodically speaking) a F7 chord. Got it? L = Left Hand R = Right Hand The verbal comments along the music are not meant to be actually read aloud, but alla mente (like in some Satie's music). However, if you want to recite them at concert, go ahead.Juan María Solare (http://www.JuanMariaSolare.com)
Bad Hombres Jumping Over my Wall While Yelling '¡Arriba!, ¡Arriba!'
Piano seul

$2.00 1.73 € Piano seul PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1477546 By Betsy Lee Bailey. By Betsy Lee Bailey. Arranged by Betsy Lee Bailey. Broadway,Children,Comedy,Historic,Musical/Show,Renaissance. Score. 74 pages. Betsy Lee Bailey #1054941. Published by Betsy Lee Bailey (A0.1477546). The Frog Prince children's musical is a version for young actors of the famous Grimm's fairy tale retold in script and songs by Betsy Lee Bailey. The setting is northern France during the Renaissance.  The Monarchs of two neighboring kingdoms are having problems with their children.  The self-centered young Princess and the headstrong little Prince want things their own ways without considering how it affects their families. Kings and Queens, Heralds, Knights, Lords and Ladies, a Prince, Princesses, a Frog, and even a Dragon fill this show with many opportunities for your cast to shine. Some of the magic is done using hand puppets, stick ponies, coconut clip-clops, and ancient instruments.  This show includes parts for many princesses not just one, NO LOVE STORY, and fun comedic parts for a lot of knights.  The over-arching moral value is KEEPING PROMISES.  Enjoyed by audiences of any ages.  With 5 original songs, several dances, and incidental pieces, this score is accessible for young actors.  Accompaniment MP3's are available on SMP and SMD.  See BaileyKidsMusicals.com for details.For young actors ages 5-12.Running Time: approximately 30-45 minutes.
The Frog Prince - Children's Musical SCORE
Piano, Voix et Guitare
Betsy Lee Bailey
$49.99 43.2 € Piano, Voix et Guitare PDF SheetMusicPlus

Easy Piano - Level 2 - Digital Download SKU: A0.957953 Composed by Joshua Sharo. Contemporary,Standards. Score. 1 pages. Joshua Sharo #3096359. Published by Joshua Sharo (A0.957953). Practice Tips: This piece requires you to be able to comfortably reach an octave. If you aren't quite there yet but still want to play the song, you can ignore the bottom octave notes in the right hand, and the top octave notes in the left hand. Even if you can reach an octave well, beats 1-2 of measure 15 could prove challenging because of the jump to a new hand position. If you're having problems with this, try leaving out the bottom F. You will probably be able to play this song a lot better if you spend time beforehand figuring out which fingerings you want to use for eighth-note passages. 
Hero's Defeat
Piano Facile

$1.99 1.72 € Piano Facile PDF SheetMusicPlus






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