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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1343535 Composed by Romanos o Melodos. Arranged by Marilena Zlatanou. Classical. 8 pages. Marilena Zlatanou #929063. Published by Marilena Zlatanou (A0.1343535). BYZANTINE HYMN: TI IPERMAHO (To the defender army leader) arranged for SATB choir and pianoDuring a siege of Constantinople in the 6th cent., and while the regular army was engaged in fighting elsewhere, the city was attacked by Avars. The women, children and seniors left there fought as best they could, but finally realized that they had to give up. As a last resort, they carried the icon of Panayia (St. Mary, always referred to as all-holy in Greek), alongside the city walls, something that produced an unexpected effect: The besiegers left! For three days the citizens participated in liturgies addressed to Her, in a hymn called AKATHISTOS YMNOS (=Non-sitting Hymn), where this tropation is central, as it is most actively still used in the Greek Orthodox Church at many other relevant services. The first part is the original, in unison, or sung by a soloist. The piano part and the following choir arrangement are my contribution.duration: 3'33'' Phonetic transcription in the Latin alphabet is notated right below the original Greek text, English translation, and a key to Greek Pronunciation are provided on the title page. The mp3 file provided is exported from the sibelius file.For more information on the arranger, (member of TONO, the Norwegian copyright org.), please visit website www.zlatanou.netAs a Greek living in Norway for most of my adult life, and in my many years’ work as a conductor of a Norwegian choir specializing in Greek music (!), I have experienced the need to enrich the choir’s repertoire with both folk song- as well as other -arrangements of Greek music: This gave me the opportunity to share with our audiences some of the centuries-long musical heritage, as well as helping me make known to them some of the History behind the music of a country of such international historical influence in the past, and such a tourist magnet in our times.
Byzantine Hymn: TI IPERMAHO
Chorale SATB

$20.00 17.17 € Chorale SATB PDF SheetMusicPlus

Choral Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801644 Composed by Connie Boss. Celtic,Christmas,Irish,Sacred. Score. 13 pages. Connie Boss #6360795. Published by Connie Boss (A0.801644). DESCRIPTIONThis is a Christmas original I was inspired to write. The shepherds couldn't quite figure out why there was such a bright star and why the baby was so special. Once they arrived in Bethlehem, they realized he was born to bring Peace on earth to all. Note: This shows going from verse 2 to bridge. You could repeat the refrain in between and/or add the refrain at the end of the piece. (You get all three instrument parts in individual parts each on one page for no page turning in this one purchase)  cdboss@cvalley.netLyrics:Peace on EarthChristmas SongComposed by Connie Boss Intro and Refrain:Peace   on EarthPeace   on EarthPeace   on EarthPeace   one Earth Verse 1:And into the still of the nightThere was one star shining brightShepherds in their fields all aroundSaw it shine down on a town Refrain: Verse 2:It’s light beckoning all to comeTo see the new chosen oneSo they followed the bright starThey came from near and from farRefrain:BridgeFor some the journey took them daysArriving there they were amazedAll of this for a baby boy:Why were they all filled with joy?Christ was born on Christmas morn, to bring Peace on EarthPeace for allPeace for you and me. Refrain to end.
Peace on Earth - Christmas Song - SATB flute or violin or cello with piano and parts

$5.50 4.72 € 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 3.43 € Chorale TTBB PDF SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.1215199 By Liberace. By Manuel Ponce. Arranged by Timothy Stapay. Film/TV,Folk,Singer/Songwriter,Standards,Traditional. Score. 8 pages. Timothy Stapay #812071. Published by Timothy Stapay (A0.1215199). This is an arrangement of the traditional Mexican folk song, Estrellita as played by piano artist, Liberace.  This is from a very early and rare album called Songs My Mother Taught Me.Tender, romantic, and so elementally lovely that it seems we have carried this melody inside us all our lives — that’s Estrellita, the “little star†that is surely one of the most popular songs in the world. Estrellita was composed by Manuel Ponce, a 20th-century Mexican composer, who grew up in a musical family and received his musical training from his parents. It is the single work for which he is best known.According to widely accepted tradition, the ineffably lovely melody of Estrellita came to Ponce in a burst of romantic inspiration in a quiet moment as he beheld his wife.Lyrics:Little star, of the distant sky,you see my pain, you know my suffering.Come down and tell me if you love me stillbecause sad alone is this heartthat asks for love from you. You are my star, a beacon of love.You alone can give light to the heart.Little star, tell me you still love mebecause sad alone is this heartthat desires love from you.   You are my star, a beacon of love.You alone can give light to the heart.Little star, tell me you still love mebecause sad alone is this heartthat desires love from you.
Estrellita
Piano seul
Liberace
$7.99 6.86 € Piano seul PDF SheetMusicPlus

Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - Digital Download SKU: A0.576530 By Budapest Scoring Clarinet Ensemble. By David Warin Solomons. 20th Century,Contemporary. 12 pages. David Warin Solomons #35751. Published by David Warin Solomons (A0.576530). This is one of several arrangements based on my lullaby song The quiet way you move me (also available on this site). The pdf file contains score and parts. This is one of several arrangements based on my lullaby song The quiet way you move me.Lyrics of the original song:Sometimes when you fall asleep, it seems you take me with you deep into a peaceful land far from all the heartache; that you'll understand one day, you will understand one day the quiet way quiet way you move me quiet way quiet way you move me. Sometimes when you fall asleep it seems you take me with you, deep into a peaceful land far from all the heart ache. I find myself complete; I find myself repeating a prayer and smiling at the sky: the quiet way you move me even when you cry. Now within your drowsy eyes I can see why the world has lost all its wonders. A new dream is rising, impatient to begin. A new dream is rising impatient to begin. And when the dream is through, your hungry feelings will find me. My comfort is you. My comfort is you. The quiet way quiet way you move me quiet way quiet way you move me
The Quiet Way for clarinet quartet
Quatuor de Clarinettes: 4 clarinettes
Budapest Scoring Clarinet Ensemble
$10.00 8.59 € Quatuor de Clarinettes: 4 clarinettes PDF SheetMusicPlus

Handbell - Level 2 - Digital Download SKU: A0.953733 Composed by Frank M. Davis, Henry Smart, John Hughes, Robert Lowry, William B. Bradbury, and and George A. Young. Arranged by G. R. Adkison. Christian,Sacred. Score. 10 pages. Gary Ray Adkison #14705. Published by Gary Ray Adkison (A0.953733). God: Our Leader Medley is a 120 measure arrangement for 4-5 octave handbell choir and 3 octaves of OPTIONAL associated handchimes, although the handchime parts can also be played by handbells. The overall theme is the leadership of God in the life of the Christian. This is a medley of 7 Christian hymns. The first 4 are requests---requests to God to lead us. The last 3 are descriptions of God leading us (responses by God). The 1st request is presented by the handchimes playing Savior Lead Me. This is a simple, easy to play section in the key of D. Still in D, the 2nd request is Lead on, O King Eternal. After a false modulation, the 3rd request is Savior, Like a Shepherd Lead Us. This features a few bass runs. After a modulation to the key of G, the 4th request starts with Guide Me, O Thou Great Jehova. Also featuring some bass runs, it also makes use of descant lines. The 1st response, also in G, is All the Way My Savior Leads Me. This section is not in the original 3/4 time, but in 4/4 time, although near the end it reverts to the normal 3/4. It makes heavy use of fills and a brief descant line. The 2nd response is a 6/4 version of God Leads Us Along in the key of C. Again, there is a brief descant line. The last response is He Leadeth Me, also in C, that features two descant passages, and bass runs in the last two lines. After the first section of the overall arrangement, the chords used are often significantly more interesting than the chords normally used with these 7 hymns. This arrangement uses various dynamic and tempo markings, in order to achieve musical contrast, and still be true to the character of the original hymns. (The MP3 audio demonstration file provided is in a piano patch (voice), although the actual arrangement is for (and, of course, will sound better with a) handbell choir.) This arrangement is probably a level 2+ (2 plus) degree of difficulty.
God: Our Leader Medley (for 4 and 5 octave handbell choirs)
Cloches

$4.00 3.43 € Cloches PDF SheetMusicPlus

Piano Solo - Digital Download SKU: A0.976836 Composed by Monica Bergo. Christian,Sacred,Spiritual. Score. 7 pages. Monica Bergo #3235483. Published by Monica Bergo (A0.976836). 2017 Holiday Contest EntryPrayer   I remember, as a child That  church scared me low voices, eyes down And people did not laugh   Your suffering  face From the cross looking at me your hands tormented And the blood dripping And I remember those nights  when I will praying and invoked  you Change quickly my life Only this I was wondering   And I was fragile Like a leaf in the wind so useless prey to every torment   and I was still but always in motion voice of the soul screaming without complaint   I remember gray days in which I was looking for you, and you begged and the silence around me amplified my empty and retrace the hours when there was nothing to hold onto and the question was: God exist or not?   Kneeling in your church They say this is your home I am seeking warmth and yet I feel stateless And it was cold the bench, as my heart I look at your mother and her pain To be loved, is what I want too   And I  will pray It will be an incredible dialogue Inside me I hear you in every fiber of my being and reborn we are born to regret because every day here we die a little ' I will rise again?   and I will pray and your voice that will envelop me already it turns into freedom you, father, friend You know that peace do not ever leave me stops my time at this moment while you're in me, so present I ask for nothing more   and  you are shelter and belief a search of attention I always hovering well between damnation and redemption   no fate is already sealed and you delete my past and my days without faith I leave them behind me  a thousand prayers I will invent I do not follow a book, I have only one chant written by my Lord, I do not see but it is always beside me ... ..                                                                Monica Bergo
Preghiera
Piano seul

$3.99 3.43 € Piano seul PDF SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.1335536 Composed by Juan María Solare. 20th Century,21st Century,Classical,Contemporary,Contest,Festival. Score. 19 pages. Juan Maria Solare #921371. Published by Juan Maria Solare (A0.1335536). Hommage to Ursula is a piano piece in memory of Ursula Görsch (1932-2023). The piece is based on the six sounding letters of her last name (GERSCH, where the O is omitted, the R represents RE - the D note in Spanish, Italian, or Turkish - and the S represents the E flat, 'Es' in German), as well as on the remaining six notes of the total chromatic scale (C#, F, F#, Ab, A, B). Both Pitch Class Sets are identical from an intervallic perspective - transposed by a tritone. Such coincidences confirm to me that I am on the right path, at least musically.The reference to Turkey is not coincidental, as Ursula taught in Istanbul for many years.The initial texture of the piece - a kind of toccata with many repeated notes - is a purely musical homage to Ursula: she used this texture in some passages of her compositions. Besides that, this piece contains no direct quotation from Ursula's music.The work Hommage an Ursula is based on a series of 12 notes. The original version (Prime) and the inverted version (Inversed) alternate. From these 24 versions of the series, 24 sections result. I add a final section based on the original series ('Das Ende im Anfange'*); thus, there are 25 sections.To order the 5 motivic elements, I generate a Latin square. The 5 elements do not rotate, but, in each of the 5 main sections, the initial motive is always the same (A), and the order of the other four (BCDE) changes, permutating according to the following Latin square:A BCDEA CEBDA DBECA EDCBA BCDEThis work can then be considered as a derivation of the 'theme and variations' structure, with the peculiarity that there are five sub-themes that are rearranged in each of the variations.This piece lasts about 11 minutes. The premiere, performed by the composer (that is, by myself), took place on November 26, 2023, at the Konzertsaal of the Hochschule für Künste in Bremen, during the concert 'Gedenkkonzert Ursula Görsch und Harald Kruse', as part of the 73rd Hausmusikwoche, organized by the DTKV (German Association of Sound Artists) in cooperation with the ABK (Circle of Composers in Bremen).This is not an easy piece to listen to. It is absolutely consistent but perhaps monotonous. During the premiere, the yawns of someone in the audience prompted me to briefly interrupt the performance to inform them that the end was near. After the concert, one of the organizers suggested to me that the piece was too 'anstrengend' (demanding, exhausting). It is up to the gentle pianists to risk experiencing the same as me.* 'Das Ende im Anfange' reads the legend that can be read in the circle of tonalities reproduced by Johann Friedrich Michael Wiedeburg in his treatise Der sich selbst informirende Clavierspieler (Leipzig and Halle, 1765-1775, Verlag der Buchhandlung des Waisenhauses).Juan María SolareBremen, September & December 2023.
Hommage an Ursula [piano solo]
Piano seul

$4.00 3.43 € Piano seul PDF SheetMusicPlus

Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). Music and song composed by meTHE LAST MY FLOWER (the wolf and the witch)   I look at my last flower It loses its scentand I do not know what to do I protect you with warmthof this other story I have to tell   creatures alone and desperate many scars heal a witch and a wolf do not know yet that their destinies are to merge   and starts this magical storysweet as ancient fable in a forest with no place and no age out of touch   and the time is stopped and does not move a breath and the heart, explodes and skip a beat and look you recognize like not having never lost   and the wolf that is injured a white rose in red has turned He is bleeding along with drops of pain his red eyes burning with love   and the witch instead hides because she isn't beautiful and it is not important nobody in the world has never belonged and a caress he never touched   she care and caresses the soul he looks at her and his anger dominates and one year only lasts a moment lost in eternity   and the wolf tells tales and the witch makes magic potions and exchange promises useless that the night  guard   and she will dance will dance naked and the wolf with his heart on his sleevelying by the fire that lights up, so free unobstructed and are reflected in the magic lake and do not feel that cold shiver... not last, do not you feel it too?cold around  us   Abracadabra !! from caterpillar to butterfly Alakazam !! and I too am beautiful do not you wonder how and why I started to talk to me snow fallsbut we are in August and there is nothing that you find a place this my music speaks for it self this is the strangest tale that is   I stop here It will end well I can not tell the end of a love that is not written yet   I stop here It will end well in a vacuum and the absence these days my silence and inconstancy in your feeling sthe flower dies already   go wolf go stop thinking about her from your pack you will need to return and then runs away   witch will if you want to transform changes role an actress who artand you will have new flowers   day step into the dark caverns of regret Mix them with potions and transform everything into tears like a cat in the night I try the food in the trashno sun, no light no god here that help me   body and spirit dentedas a glass stuckinside my poor heart the memory of a love He never really lived so alive in the mind is my animal instinct that makes me ache while another dream diesthe witch in the lake you slidethe water lapping against the planin his eyes the wolf that is now already far   a fairy tale real or invented in between  my  hidden  truth all my stories strange and weird over this skin are now tattooed   I watc.
THE LAST MY FLOWER (THE WOLF AND THE WITCH)
Piano seul

$5.00 4.29 € Piano seul PDF SheetMusicPlus

Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1501013 By Richard St. Clair. By Richard St. Clair. Arranged by Richard St. Clair. A Cappella,Christian,Classical,Praise & Worship,Religious. 14 pages. Richard St. Clair #1076970. Published by Richard St. Clair (A0.1501013). This is a Latin motet, duration about 7 minutes, on poetry by the 4th-5th century Christian poet Prudentius. The music for this motet is highly animated. The full text follows, with an English translation.Latin Text:1. Christus nostra caro est, mihi solvitur et mihi surgit.Solvor morte mea, Christi virtute resurgo;cum moritur Christus, cum flebiliter tumulatur,me video: e tumulo cum jam remeabilis adstat,cerno Deum.2. Nosco meum in Christo corpus resurgere; quid medesperare jubes? veniam, quibus ille revenitcalcata de morte viis; quod credimus hoc est.3. Pellite corde metum, mea membra, et credite vosmetcum Christo reditura Deo; nam vos gerit ille,et secum revocat; morbos ridete minaces;inflictos casus contemnite; tetra sepulcradespicite; exsurgens quo Christus provocat, ite.English Translation:1. Christ is of our flesh; for me His death, for me His Resurrection. If in death I am dissolved, through the power of Christ I shall rise again. When Christ suffers death, when amid tears He is laid in the tomb, I behold myself; and, when restored from the tomb He again stands before me, I gaze upon God. 2. I know that in Christ my body shall arise; why bid me, then, despair? For I shall go by that same path whereby my Lord returned, death trodden neath His feet; this is my creed. 3. Then banish, my limbs, all terror; and believe that with Christ our God you shall again return; for it is He that sustains you; He will call you to join Him. Laugh at the threats of sickness, scorn the blows of fate; despise the horrors of the tomb, and follow where the risen Christ summons. -- Prudentius (348 - after 405 AD), selections from his APOTHEOSIS.
Christus nostra caro est for SATB Choir a Capella
Chorale SATB
Richard St Clair
$12.95 11.12 € Chorale SATB PDF SheetMusicPlus






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