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Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.893713 By Lauren Daigle. By Lauren Daigle, Paul Duncan, and Paul Mabury. Arranged by Kris Jim Christian (of Revelation & Restoration). Christian. Octavo. 3 pages. Kristopher James Murdock #6681589. Published by Kristopher James Murdock (A0.893713). Https://revelationandrestoration.comHow can you face your darkest hour head on without collapsing from fear? With the Light that the shadows can't deny, the Name that cannot be overcome. This modern worship anthem to the Name of Jesus has ministered to my heart during the darkness of the trials and troubles of life ever since I first heard it 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. Either or both choruses, as well as the bridge, may be repeated as many times as led. After either chorus, the song may also continue to the bridge or a verse. I believe the high chorus and the bridge are both great places to end the song, so this arrangement allows for either ending. Just let the Spirit lead you--and be sure to signal your ensemble members :-)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 by Kris Jim Christian).Also get tons of our own music for free, as digital albums (original and public domain music, though not copyrighted cover songs like this one), by visiting https://revelationandrestoration.com. .
Tremble
Chorale Unison
Lauren Daigle
$4.99 4.32 € Chorale Unison PDF SheetMusicPlus

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.926665 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 13 pages. M.A. Morizio #3588435. Published by M.A. Morizio (A0.926665). In the first chapter of Paul’s second letter to Timothy, verses 1-10, we observe the intimate relationship that exists, between a spiritual father and his son… I remember you constantly in my prayers night and day. As I remember your tears, I long to see you, that I may be filled with joy. In Chapter two we also witness Paul’s commissioning Timothy to entrust to faithful men all that he was taught by the Apostle, that they then may be able to teach others in the same way also. While the elder Paul is now in prison and bound in chains, he is nonetheless empowered by the Holy Spirit to encourage and exhort Timothy to share in suffering as a good soldier of Christ, for the sake of the Gospel. Though Paul is bound in chains, he declares to Timothy the word of God is not bound! Endurance for Paul serves only one purpose, the salvation that is in Christ Jesus with eternal glory.In verse 11, Paul supports his statements by inserting another known 1st century Hymn to Christ, which brings us to our fifth anthem, For If We Died with Him. The text-or lyrics-of this hymn are even bracketed (or indented) in the NKJV Bible, suggesting the hymnic setting.   The proposition of the text is quite clear; if we died with Christ, then we shall also live eternally with Christ. If we endure in the faith, then we shall also reign eternally with Christ. However, there is an insertion of 'Law' here, with a dire warning that the opposite is also true: If we deny Christ, resist, and refuse His beckoning and free invitation to salvation, then He will also deny us. Not everyone who says to me ‘Lord, Lord,’ will enter the kingdom of heaven… I will declare to them, ‘I never knew you; depart from me, you workers of lawlessness.’ (Matthew 7:31-23). Thus, the stage has been set for the fifth anthem. The piece is composed for SATB a cappella. The key is F Major. The opening phrase, This is a trustworthy saying, is in ¾ time, where a series of triplets are sung three times each (the Trinitarian opening motif). The meter then shifts to 2/4 with a lovely, distinctive unison melody for the opening phrase, For if we died with Him, we shall also live with Him. Soon after, when the lyrics shift to the words, If we deny Him, He will also deny us, the song drops into the relative minor key (F minor). The melody in this passage is haunting, and sends a clear warning signal to the listener to pay heed to what is being sung. When the text then transitions from if we are faithless, He remains faithful, however, the key shifts back to F Major in a new (dance-like) rhythm for the final verse, He remains faithful, for He cannot deny Himself. A coda is inserted in the final phrase where the triplet pattern is recapitulated (This is a trustworthy saying) and the sopranos ascend to a high F singing the lyrics, we shall live, for He remains faithful! to triumphantly end the piece.  
FOR IF WE DIED WITH HIM (SATB) w/Rehearsal Piano – 2 Timothy 2:11-13
Chorale SATB

$1.99 1.72 € Chorale SATB PDF SheetMusicPlus

4 Fl. - Intermediate - Digital Download SKU: F2.FM551 Composed by Geoff Warren. Flute Quartet - Four Concert Flutes. Score. 33 pages. Forton Music - Digital #FM551. Published by Forton Music - Digital (F2.FM551). ISBN 9790570484508.I have always been fascinated by rounds: cyclic canons which can go on indefinitely and are usually associated with group singing. In this book I present a series of rounds for four equal 'voices', with entries at a distance of one, two, three and four bars. The music is conceived for flutes, but will probably work for any ensemble of four equal voices. Parts may be doubled up; the important this is that all four parts are heard. Once all four voices are in, the music can continue as long as the players wish. The rounds are not primarily intended for public performance, but for each round I have proposed a finale. If it is decided to make use of this, the furst flute will need to give a signal when he is playing his 'last time'. Others on their successive entries will then to to their 'last time' parts, bringing the players together for the ending. It is my hope that the rounds in this book will provide entertainment for the participants, and also that this playing experience may also be of educational value.
A Book Of Rounds

$14.95 12.95 € 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 8.65 € 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 64.96 € Orchestre de chambre 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 2.12 € Chorale SATB 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 7.79 € Violon et Piano PDF SheetMusicPlus






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