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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.528466 Composed by Jerry Gray. Arranged by Diego Marani. 20th Century,Contemporary,Instructional,Jazz,Standards. Score and parts. 19 pages. Diego Marani #6027453. Published by Diego Marani (A0.528466). A String of Pearls is a 1941 song composed by Jerry Gray with lyrics by Eddie DeLange. It was notably recorded by Glenn Miller and His Orchestra on RCA Bluebirdthat November, becoming a #1 hit. The song is a big band and jazz standard.This arrangement for brass quartet (Bb Trumpet 1, Bb Trumpet 2, Trombone or F Horn, Tuba) reflects faithfully the original and includes also the transcriptions of famous solos of saxes (Babe Russin, Tex Beneke) and trumpet (Bobby Hackett).It is suitable for classroom, repertoire and recital.
A String Of Pearls
Quatuor de Cuivres : 2 trompettes, trombone, tuba

$19.99 17.09 € Quatuor de Cuivres : 2 trompettes, trombone, tuba PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1140465 By REO Speedwagon. By Gary Richrath. Arranged by Jim Farley - www.arrangementsone.com. Pop,Rock. Score. 14 pages. Jim Farley arrangementsone.com #740702. Published by Jim Farley arrangementsone.com (A0.1140465). ABOUT THE ARRANGER: Jim Farley has been a professional music arranger, transcriptionist and copyist since the mid 1970’s,and has thousands of works, spanning various genres in his catalog: musical theater, pep band, orchestra, show choir, cruise ship performers as well as arranging for dozens of classic rock horn bands across the U.S. and Europe. He thrives on creating arrangements and transcriptionsthat are true to the original versions and strives to produce clean, easy to read music. For questions or more information, please contact the arranger at: jfarley@arrangementsone.com and visit his website at www.arrangementsone.com.
Take It On The Run
Piano, Voix et Guitare
REO Speedwagon
$4.99 4.27 € Piano, Voix et Guitare PDF SheetMusicPlus

Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Drum Set,Organ,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.765102 By AC/DC. By Angus Young, Brian Johnson, and Malcolm Young. Arranged by Jim Farley arrangementsone.com. Rock. Score and parts. 46 pages. Jim Farley arrangementsone.com #3072437. Published by Jim Farley arrangementsone.com (A0.765102). Arranged for 7-10 piece horn rock band included: Conductor Score, Keyboard (organ)/Vocal/Chords, Guitar, Bass Guitar, Alto Sax, Tenor Sax, Bari Sax, Trumpets I & II & Trombone.ABOUT THE ARRANGER: Jim Farley has been a professional music arranger, transcriptionist and copyist since the mid 1970’s,and has thousands of works, spanning various genres in his catalog: musical theater, pep band, orchestra, show choir, cruise ship performers as well as arranging for dozens of classic rock horn bands across the U.S. and Europe. He thrives on creating arrangements and transcriptionsthat are true to the original versions and strives to produce clean, easy to read music. For questions or more information, please contact the arranger at: jfarley@arrangementsone.com and visit his website at www.arrangementsone.com.
Back In Black
AC/DC
$40.00 34.19 € PDF SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.1233070 Composed by Anthony Sbarbaro, D. James La Rocca, Edwin B. Edwards, H. W. Ragas, Harry De Costa, and Larry Shields. Arranged by Timothy Stapay. Film/TV,Jazz,Pop,Singer/Songwriter,Standards. Score. 6 pages. Timothy Stapay #828702. Published by Timothy Stapay (A0.1233070). Tiger Rag is arranged as performed by piano artist, Liberace.  This is the same version he performed on his emmy award-winning t.v. show.  This version is written in the same sensational style; with dazzling virtuosity.Tiger Rag is a jazz standard that was recorded and copyrighted by the Original Dixieland Jass Band in 1917. It is one of the most recorded jazz compositions. In 2003, the 1918 recording of Tiger Rag was entered into the U.S. Library of Congress National Recording Registry.Tiger Rag was first copyrighted in 1917 with music composed by Nick LaRocca. In subsequent releases, the ODJB members received authorship credit. Władziu Valentino Liberace(May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor.   A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!Lyrics:Hold that tiger, hold that tigerHold that tiger, hold that tigerHold that tiger, hold that tigerHold that tigerWhere's that tiger? Where's that tiger?Here's that tigerWhere's that tiger? Here's that tigerWhere's that tiger? There's that tigerHold that tiger, hold that tigerHold that tiger, hold that tigerHold that tiger, hold that tigerHold that tigerWhere's that tiger? Where's that tiger?Here's that tigerWhere's that tiger? Here's that tigerWhere's that tiger? There's that tigerHold that tiger
Tiger Rag "vocal"
Piano seul

$8.99 7.69 € Piano seul PDF SheetMusicPlus

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Arlo Guthrie
$3.99 3.41 € Chorale TTBB PDF SheetMusicPlus

Piano Solo - Digital Download SKU: A0.976869 Composed by Monica Bergo. Contemporary. Score. 5 pages. Monica Bergo #3239709. Published by Monica Bergo (A0.976869). 2017 Holiday Contest Entry                        The world that there isn’t How did Dante one day in the hell and after I return Down in the world that there is not In pieces of ice It reduced your heart you walk, walk, do not you think the pain of lost things, caresses denied the cold that you feel and clouds the mind At What you cling and where are you going? it is dark at night and you think only that Close the eyes it means to die in this station might end the life,the joy, but which ? future and that  what you have inside It makes you tougher you mirrors, reflect in the void of others Look at them in the eye precipitates, reel this is the life in the world that there is no and while run after a blind butterfly and meanwhile look back on fairy tale ever read and you search  the laughter, games and friends return back, hope of happy days everyone is inside his sick world and that who you are looking for is not there, is lost only shadows lurking and the moon that shines but she is not always that here in the world that there is no and while you get lost in 1000 miseries and then you start up into the nothingness that awaits if you touch people they hastens and takes offense and lengthens the step that knows where it goes you don’t look, you don’t dare don’t hope and don’t you think  and the snow falls and while you pray that this god distracted realizes that exist a deeper world what light does not but your soul is not dead yet walk, walk and she opens the door that goes to the world that out shines there is still a spark of love that awaits and here it is that rises  the charm the flower is reborn fear and fright heat that feeds sun is shining and with its rays protects, defends and while you mirrors  ,with the sun in your eyes and while you look back  the dark of before there is that girl that inside the night smiles, turns and then goes away ... you look at her, until she is a distant shadow Turn around and answer to life calling As Dante  did one day in the hell and after I return Down in the world that there is no ...                                                                                 Monica Bergo
Il mondo che non c'è
Piano seul

$3.99 3.41 € Piano seul PDF SheetMusicPlus

Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1027950 Composed by Robert Hada. Jazz,Musical/Show. Score and parts. 56 pages. Robert Hada #3106883. Published by Robert Hada (A0.1027950). (Theme of Bob Hada/Piano Song).Lyrical Form:Classical Rap Swing #1:- I go to the school name Mount Miguel,I'd been around here since 2012,I've shown myself with the fame and glory,And who I am, Well,Big Fun Swing #1:- I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!Classical Rap Swing #2:- For those of you that don't know me,The name is Bob that's short for Robert,My main powers are the musical skills,And for I got, Well,Big Fun Swing #2:- I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!Scat Singing #1 while soloists will proceed to rock out.Scat Singing #2 while entering into the last chorus.Big Fun Swing #3:- I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!Ending with an important quotation:- That's right, I am The Schools Pianist! - Bob Hada
I'm The Schools Pianist
Ensemble Jazz

$4.50 3.85 € Ensemble Jazz PDF SheetMusicPlus

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
Suite No. 1

$10.95 9.36 € PDF SheetMusicPlus

Level 3 - Digital Download SKU: A0.1105037 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Rock. Full Performance. Duration 239. David Kai #708281. Published by David Kai (A0.1105037). This song is a reflection on Psalm 46. Like many Psalms, it contains elements of questioning, challenge and finally, faith. It is written in a Contemporary Christian/Christian Rock style. BE STILL AND KNOW (Psalm 46) BE STILL AND KNOW Chorus: Be still and know that I am God, Be still and know that I am God Be still and know that I am, Be still and know that I am God You are the Word beyond all words, a holy mystery, A presence in the universe that I can’t touch or see, A force in space and time with no beginning and no end, A spark of inspiration that I cannot comprehend. In a world that’s so embraced by pain how can Your love be shown? In life that’s short and fleeting, can eternity be known? My questions have no answers for I’ve painted You too small, So I will cease my babbling and worship You in awe. Be still and know that I am God, Be still and know that I am God Be still and know that I am, Be still and know that I am God Our God’s a refuge and our strength, and so we will not fear, Though mountains shake and waters roar our God is always near, God makes the wars to cease and breaks the bow, the shield, the spear, Behold the works of God whose reign of peace will dry all tears. You are the glints of sunlight through the amber-dappled leaves, You are the hints of silence in the vows that lovers breathe, You are the one who awes me with the love that we receive, You are my first and dying breath, in You I will believe. Be still and know that I am God...
Be Still and Know (in F)
David Kai
$1.99 1.7 € PDF SheetMusicPlus

Instrumental Duet Instrumental Duet,Piano,Violin - Digital Download SKU: A0.1012704 Composed by Monica Bergo. Contemporary. Score and parts. 30 pages. Moni Bergo #5742893. Published by Moni Bergo (A0.1012704). Music and song composed by me about Borderline♫ * ´¨` * • .¸¸. ♫ Cassandra's vision ♫ * ´¨` * • .¸¸. ♫  I don't want to open that door, I shouldn't ... but it's the wind that brings me ... And I sing in a low voice, Until the pain passes and turn, turn-round, how bad the world is Between thoughts and tears, words and music There is Cassandra's vision And I don't know if he can do it, to write about you, you left quickly, And you're perfect in my mind   Cassandra is locked up in that room, He hugs himself, tells an existence: Look there, my father and his glass, look at me, the victim of drinking purple bruises, always alone at school, violence continues in indifference, my mother knew but hid everything, the mind that does not hold, and the borderline destroys the spark that was in me, all those dreams of mine and that love that I will never have, I would like to run away but I am chained here, uncontrolled rituals, repeated gestures and a monster closed inside me In Cassandra's vision, she no longer has bars in this room no longer has a body, sex, it is ageless It's a vision but she doesn't know it In harmony with creation, forget the present and the past And the pain comes up and will disappear, It's a vision but she doesn't know it Cassandra does not know, who is about to lose our reality Worn threads Of a fragile puppet He hangs in the balance, embraces a nightmare In his labyrinths, he never finds a way out And pass the margin, cross that limit You feel a flower that Needs no longer has And the wind will follow   In front of the mirror, The long hair, Reflect flashes of a thousand crystals You comb them slowly ,, With infinite care, You have been waiting for your love for a lifetime And a carillon that resounds far away, The brush suddenly falls from your hand Because the black man is here, he is already back, He breaks your dream, the charm is broken   Cassandra runs among the stars and tattooes them on her skin Bruises and scars no longer has, It's a vision but she doesn't know it In dimensions to explore, How birds can fly Breathe sun, love and freedom And no one will harm you here ... Cassandra stop, Cassandra help me not to regret you Now you can't chain me to you, to your memory that will burn forever Cassandra doesn't know that wings don't, she doesn't Tragic angel who takes flight and then A puppet with broken threads now And time stands still here, like your beat   But the vision is mine or Cassandra's, I don't remember anymore, This time changes my perception of the past Faces and names that Time has faded by now And I dance to the ticking of what has been lost souls who are left behind always inside me with their story an eternal tattoo in my memory   I shouldn't open that door, I don't want to, but it's the wind that brings me…. and I sing in a low voice until the pain passes and round, round-round how bad the world is ... .. Monica Bergo
CASSANDRA'S VISION
Violon et Piano

$5.00 4.27 € Violon et Piano PDF SheetMusicPlus

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921495. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068892). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
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