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Piano and voice - Digital Download SKU: LV.3569 Composed by Giuseppe Verdi. Arranged by Charles W. Glover. Courtship, Love, Distress. Lester S. Levy Collection. 7 pages. Published by Johns Hopkins University Sheridan Libraries (LV.3569). The Tempest of the Heart (Il Balen Del Suo Sorriso). From Il Trovatore. By Verdi. English Words by Chas. Jefferys. Arranged by Chas. W. Glover. Published 1856 by Oliver Ditson, Washington St. in Boston. Composition of recitative and strophic aria with piano and voice instrumentation. Subject headings for this piece include Courtship, Love, Distress. First line reads Still all is silent! To my waiting ear the day dawn gives no signal.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
The Tempest of the Heart (Il Balen Del Suo Sorriso). From Il Trovatore
Piano, Voix
Verdi English Words by Chas
$5.99 5.16 € Piano, Voix PDF SheetMusicPlus

Brass Ensemble - Level 4 - Digital Download SKU: A0.870845 Composed by Charlie Barnet. Arranged by Lawrence Killian. Contemporary. Score and parts. 18 pages. Linden Brass Press Inc. #6655763. Published by Linden Brass Press Inc. (A0.870845). From Wikipedia: Charles Daly Barnet (October 26, 1913 – September 4, 1991) was an American jazz saxophonist, composer, and bandleader.Skyliner...was written as the theme music for the late 1940s US Armed Forces Network program Midnight In Munich, broadcast from the AFN station in Munich, Germany, and hosted by Ralph Moffat. Thanks to the station's immensely powerful twin 100 kW transmitters, AFN Munich could be heard as far away as the UK; this, and the popularity of Moffat's show, evidently helped Skyliner and many other contemporary American swing hits to gain wide popularity across Europe and become hits in the UK. The title (which was originally printed as Sky Liner) may be a reference to the practice of American pilots flying into Munich who used the radio station's powerful signal to home in on the city.
Skyliner
Ensemble de cuivres

$14.95 12.88 € Ensemble de cuivres PDF SheetMusicPlus

Piano,Violin - Level 3 - Digital Download SKU: A0.933395 Composed by Philip Clark. Contemporary,Instructional,Standards. 7 pages. Philip H Clark #2031993. Published by Philip H Clark (A0.933395). This piece was inspired by an actual 'passeggiata' in a small Tuscan town (Montespertoli) not far from Florence. There seemed to be no starting signal, yet suddenly the square was filled with people - excited children, teenagers in love for the first time, couples with strollers, serious adults discussing world affairs or the weather. They were walking slow, walking fast, talking slow, talking fast or not at all. And as I sat there drinking in this extraordinary spectacle, Sevcik's finger exercises were going round and round in my head. (3rd position plus harmonics).
La Passeggiata, An Evening Stroll for Violin and Piano
Violon et Piano

$9.00 7.75 € Violon et Piano PDF SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.533598 Composed by Carson Cooman. Contemporary. Score and parts. 34 pages. Musik Fabrik Music Publishing #3030255. Published by Musik Fabrik Music Publishing (A0.533598). Symphony No. 2, Litanies of Love and Rain (2004) for orchestra is a symphonic work in onemovement. It is dedicated to Marisa Green.The work is inspired by a poem (Desiring the Solicitude of Rain) by American poet Kathleen Wakefield. The landscape of rich imagery in Wakefield's poem drives the extra-musical inspiration of this work. Musical material from the earlier vocal work is re-imagined in a purely orchestral context.Wakefield's poem contains images and messages of love and journey amidst the desire for the coming of rain. It is these ideas which provided the poetic conception of the work. Throughout the piece, the winds and brass play an extensive lyric and melodic role. A strand of singing lyricism runs throughout. Instruments are always exploring and highlighting theresonances in melodic and contrapuntal lines of other instruments. The work is cast in three sections (slow-fast-slow) plus a coda. The opening section begins with a forceful gesture that returns throughout the work as a signal. A melodic idea (containing the basic material of the work) is presented in the clarinet and it is developed throughout the rest ofthe section. A faster section emerges in a burst of energy as instruments hocket off each other.The next section is marked slow, ritualistic. The strings create an otherworldly harmonic cloud of gradually shifting and overlapping harmonies. Through this cloud, bassoon, trumpet,and flute solos emerge. Finally, the opening music is recalled in the coda as the potential energy continues to build. The work ends with a surge of anticipation -- the rain is about to come and it can be imagined just beyond the horizon.Orchestration: 2222/2200/1perc/stringsParts on rental from the publisher.
Symphony No. 2, "Litanies of Love and Rain" (2004) for orchestra, study score
Orchestre de chambre

$16.95 14.6 € Orchestre de chambre PDF SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677. Published by Brent C Robitaille (A0.1412646). One Second to the Future (Guitar Orchestra) Composer: Brent Robitaille  • “One Second to the Future†is a two-movement piece for either a single or optional double guitar orchestra with four separate parts for electric guitar and classical guitar. Two optional steel string guitar and electric bass parts are available but may be substituted if these instruments are unavailable. The total score will be around 500 measures with a running time of approximately 12-15 minutes. The piece is quite approachable for intermediate-level guitarists, with the more challenging sections arranged for the 1st and 2nd parts of the electric and classical guitar. Three overhead mics from the stage will be used to spatialize the sound into a stereo or surround sound system.  • The first movement starts with a fixed audio shortwave recording from the Canadian time signal shortwave station CHU, gently fading in for approximately 20 seconds before the guitar orchestra begins with natural and artificial harmonics.  • The second fixed audio track gently enters around the 1:00-minute mark. This track was recorded using eight amplified and non-amplified guitars in altered tunings with eight separate microphones to integrate into stereo or surround sound. The guitar's open strings were left to vibrate sympathetically as the volume increased and struck on the headstock with various rubber and metal sticks, violin bows or paint brushes to get the strings vibrating. The resulting wave files were then imported into a sampling program and filtered into the overtone series with “C†as the fundamental, emphasising the first 14 partials. This recording will be used intermittently throughout the first movement, acting primarily as a background pad.   • At approximately 3:00 minutes into the first movement, the players are asked to use a glass or metal slide to tap out rhythms based on the international Morse code. Several other standard slide guitar techniques are also integrated into this section. See instructions in the score. The first movement ends with both fixed audio tracks fading away.  • The second movement integrates a more traditional guitar playing and composition approach. Its bulk is at a robust tempo of 160 bpm and uses several rhythmic and timbral techniques, including sul tasto, sul ponticello, harmonics, golpe, string snaps, and the further use of guitar slides.  • Midway through the second movement, a rallentando proceeds to a section indicated by the tempo mark “slow motion.†At this point, a third fixed audio recording of a single vibrating guitar string slowed down by 3000% will fade in. The orchestra is instructed to play with this recording in slow motion or approximately 30 bpm. See score for details. The orchestra eventually returns to the original tempo to finish the 2nd movement.  Technical Requirements • Three mono or stereo mics from the orchestra will be required and blended with the stereo or surround sound. • A standard guitar delay and distortion pedal for electric guitar parts one and two is required. • Glass and metal guitar slides are required.   To download the fixed audio tracks, go here: https://soundcloud.com/kalymi/sets/one-second-to-the-future-guitar-orchestra-fixed-audio-tracks For fixed audio track information and information, contact me at:info@brentrobitaille.com.
One Second to the Future - Guitar Orchestra
Orchestre de chambre
Brent C Robitaille
$75.00 64.61 € Orchestre de chambre PDF SheetMusicPlus

Small Ensemble Baritone Saxophone,Cello - Level 5 - Digital Download SKU: A0.930385 Composed by Eugene Astapov. Contemporary. Score and parts. 8 pages. EAMUSIC #5361. Published by EAMUSIC (A0.930385). Scored for baritone saxophone and violoncello, this piece was inspired by the fictional theory of the Galactic Alignment on December 21, 2012, which by some was considered to be the day of the end of the world and the switch into another dimension. According to this story, all planets of the solar system would align into one axis and that would signal the beginning to a new era. A new planet that was invisible before called Nibiru would emerge bringing new life.Certainly these ideas are fictional science, but it was fun imagining them and composing a sound track for the planet Nibiru.
Nibiru for violoncello and baritone saxophone

$9.99 8.61 € PDF SheetMusicPlus

Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.893715 By Hillsong Worship. By Ben Fielding, Brooke Ligertwood, David Ware, and Matt Crocker. Arranged by Kris Jim Christian (of Revelation & Restoration). Contemporary. Octavo. 3 pages. Kristopher James Murdock #6681821. Published by Kristopher James Murdock (A0.893715). https://revelationandrestoration.com Fresh Wind--a great song for Pentecost Sunday or anytime!In the middle of this distracted age, how can our lives, our families, and our churches experience God's true power? By humbly praying for the Fresh Wind of the Holy Ghost. This modern worship anthem pleading and celebrating God's Holy Ghost has ministered to my heart during the darkness of the trials and troubles of life, especially recently. I first heard it sung in the livestreamed worship services of The Worship Center in Krakow, Poland (https://www.facebook.com/wrshpcntr). I pray this arrangement is a blessing to you, your ensemble, and all who hear. Appropriate for any modern church service, this arrangement is meant to be flexible, allowing for any size ensemble (playing according to the melody and chord symbols) and the spontaneity of the Holy Ghost. It may be sung by a soloist or a unison ensemble (or your singers may find their harmony parts by ear, as is done in many small groups). Any instruments may play by following the chord symbols or melody as written. The chorus, tag, and bridge, may be repeated as many times as led. After either chorus, the song may continue to the tag or either pair of verses (1-2 or 3-4). Just let the Spirit lead you--and be sure to signal your ensemble members.   0:-)God bless, in Jesus' Name!--Kris Jim ChristianP.S. Keep an eye on SheetMusicPlus.com for more sheet music from Revelation & Restoration (written or arranged mostly by Kris Jim Christian).Also get tons of our own music in free digital albums (original and public domain music, though not copyrighted cover songs like this one) by visiting https://revelationandrestoration.com. .
Fresh Wind
Chorale Unison
Hillsong Worship
$4.99 4.3 € Chorale Unison PDF SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.955734 Composed by Henry Purcell. Arranged by Phil Thrift. Baroque,Contemporary. Score and parts. 21 pages. Phil Thrift #5990477. Published by Phil Thrift (A0.955734). H.P. Takes Five is a cheeky take on Henry Purcell's famous trumpet tune. Instead of 4/4 time, it's in 5/4, with a few 7/4 measures thrown in for a bit more fun! Purcell (1659–95) wrote much incidental music for plays and so-called semi-operas performed in London's theaters, and often included a trumpet tune as a signal for the next act. A trumpet was the only instrument that could be heard above the noise of the audience!
H.P. Takes Five Brass Quintet Edition
Quatuor de Cuivres: 2 trompettes, Cor, trombone

$6.99 6.02 € Quatuor de Cuivres: 2 trompettes, Cor, trombone PDF SheetMusicPlus

SATB chorus - Digital Download SKU: C7.CGA1532 Composed by David Rasbach. General, Lent. Sacred Anthem. Octavo. 12 pages. Chorister's Guild - Digital #CGA1532. Published by Chorister's Guild - Digital (C7.CGA1532). An outstanding arrangement of this beloved spiritual from the pen of Brian L. Hanson. Hanson's choral writing uses unison lines in an intentional way, prompting an earnest response from the optional cello part. The delicate piano accompaniment seems to mark the passage of time as The Three Days unfold. A tonal change and dense piano chords signal the resurrection, and the climax, before the piece ends in hushed awe. A unique feature of this arrangement is the optional ending for Holy Week. This flexible anthem is a must-have for your choral library!
A Resting Place
Chorale SATB

$2.45 2.11 € Chorale SATB PDF SheetMusicPlus

Instrumental Duet Clarinet,Instrumental Duet,Synthesizer - Level 5 - Digital Download SKU: A0.1002834 Composed by Kyle Vanderburg. Contemporary. Score and parts. 11 pages. NoteForge #5319515. Published by NoteForge (A0.1002834). Crosswinds represents a melding of the traditional woodwind sound of the clarinet with digital live electronic techniques, and the piece explores the potential for this relationship in three parts.To begin the piece, the stage performer breathes through the clarinet, which serves to inform the electronic elements to come. This initial breath is captured by the computer program and is modified and reduplicated to create the sonic tone of a soft wind always present beneath the piece to come. This is the first step in uniting the digital and woodwind elements, as the same breath which animates the clarinet also activates the electronics.From this most fundamental element, the breath becomes a single sustained note from which the computer will generate all of its subsequent tones. The impression is one of a mentor relationship, where the traditional instrument provides the tools and the support for the electronic elements. The disposition is contemplative, though it alternates between a subdued easiness and a playful mystery, as if to introduce the digital aspects to the range and variety of the clarinet’s moods. The rapport between the two is hesitant in the first part: the electronics contributing a subtle reverb as the performer teaches the computer dexterity through a number of broad leaps, hinting at but never fully embracing the main motif.As the theme becomes more self-assured, the digital element now produces its own tones, parroting the clarinet melody to signal its readiness to be an equal partner in the conversation. As the clarinet begins the second part of the piece, the computer now provides a harmonizing undercurrent each time it is invited to do so by the performer.In the third part, the electronics play counterpoint to the skill of the clarinetist, the two elements intricately entwined. From the elemental sound of wind first produced by the performer and perpetuated by the computer, the piece concludes in a celebration of the relationship built between the two, and the main theme is fully expressed as the two take it in variations.Crosswinds is, in many ways, an experience of the history of our music through the relationship between traditional clarinet and modern digital techniques: the common elements they share, the singularity of their own particular strengths, and the beauty that can be experienced when they collaborate.Patch for live electronics available from https://bitbucket.org/kylevanderburg/crosswinds/downloads/
Crosswinds

$7.99 6.88 € PDF SheetMusicPlus






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