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Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.928974 By The Beach Boys. By Brian Wilson and Gary Usher. Arranged by Donald A. Mills, 2019. A Cappella,Pop,Rock. Octavo. 3 pages. Donald A Mills #4351149. Published by Donald A Mills (A0.928974). In My Room, by The Beach Boys.  This gentle song may be sung as a prayer, with tenderness. Your audiences will love the melody and harmonies. This arrangement by Donald A. Mills is for barbershop as a quartet or chorus. It is TTBB (TLBB) a cappella, sung softly, sweetly, legato, singing the four dotted quarter notes as a 3/4 time. The Beach Boys have mentioned that they wrote In My Room in 12/8 time because they had tired of the 3/4 time many songs of the day were written in. From Wikipedia, Gary Usher explained that 'In My Room found us taking our craft a little more seriously. Brian and I came back to the house one night after playing 'over-the-line' (a baseball game). I played bass and Brian was on organ. The song was written in an hour... Brian's melody all the way. The sensitivity... the concept meant a lot to him. When we finished, it was late, after our midnight curfew. In fact, Murry [the Wilson brothers' father] came in a couple of times and wanted me to leave. Anyway, we got Audree [the Wilson brothers' mother], who was putting her hair up before bed, and we played it for her. She said, 'That's the most beautiful song you've ever written.' Murry said, 'Not bad, Usher, not bad,' which was the nicest thing he ever said to me. Gary Usher (who co-wrote the lyrics with Brian Wilson) further describes that Brian was always saying that his room was his whole world. Brian seconds this opinion: I had a room, and I thought of it as my kingdom. And I wrote that song, very definitely, that you're not afraid when you're in your room. It's absolutely true. In 1990, Brian wrote, I also enjoyed producing 'In My Room'. There is a story behind this song. When Dennis, Carl and I lived in Hawthorne as kids, we all slept in the same room. One night I sang the song 'Ivory Tower' to them and they liked it. Then a couple of weeks later, I proceeded to teach them both how to sing the harmony parts to it. It took them a little while, but they finally learned it. We then sang this song night after night. It brought peace to us. When we recorded 'In My Room', there was just Dennis, Carl and me on the first verse...and we sounded just like we did in our bedroom all those nights. This story has more meaning than ever since Dennis' death.
In My Room
Chorale TTBB
The Beach Boys
$1.99 1.7 € Chorale TTBB PDF SheetMusicPlus

Choral Choir,Choral (SATB divisi) - Level 3 - Digital Download SKU: A0.1385810 By Joni Mitchell. By Joni Mitchell. Arranged by Scott S. Stewart. 20th Century,Contemporary,Multicultural,Patriotic,Singer/Songwriter,World. 12 pages. Scott S. Stewart #969752. Published by Scott S. Stewart (A0.1385810). Sometimes the song of a single voice, over time, evolves into a needed chorus of many. Such is Joni Mitchell’s anthem to activism “The Fiddle and the Drum†(1969).  Originally an anti-Vietnam-war protest song, the song has since been recorded 42 times, and counting, because it inspires us to “remember all the good things ‘we’ are… and because we have all come to fear the beating of ‘your’ drum.† This arrangement is scored for 8-part [SSAATTBB occasional divisi] chorus, with a very minimal piano part added for percussion-purposes only; essentially the piece is sung a cappella. The ‘piano’ part is actually an interpretation of a timpani and bass drum [2 players] accompaniment which is included with the score.  Performance time 3:48+- Note: this arrangement was conceived with large choral ensemble with mature voices in mind.  The registers are extreme for the bass and alto sections, but doable when building the overall sound of the ensemble and adjusting dynamic levels of the other voices.
The Fiddle And The Drum
Chorale SATB
Joni Mitchell
$3.99 3.4 € Chorale SATB PDF SheetMusicPlus

Oboe,Piano - Level 5 - Digital Download SKU: A0.1276462 Composed by Robert Schumann. Arranged by Zellev. 19th Century,Christmas,Classical,Romantic Period,Wedding. Score and part. 22 pages. Zellev Music #868187. Published by Zellev Music (A0.1276462). The Three Romances for Oboe and Piano, Op. 94 (German: Drei Romanzen) is a composition by Robert Schumann, his only composition for oboe. It was composed in December 1849. The work consists of three short pieces in A-B-A form, and it was written during what was speculated to be one of Schumann's manic episodes.An average full performance lasts roughly 12 minutes.The Romances were written in December 1849, one of the most productive years of Schumann's entire career. Previously that year, Schumann had written two other works for wind instruments and piano: the Adagio and Allegro, op. 70, for French Horn and piano, and the Fantasy Pieces for Clarinet and Piano, op. 73. According to Schumann himself, the pieces were written on December 7, 11, and 12th in Dresden., Unlike many other oboes, works at the time, the pieces were not the result of a commission by a prominent soloist of the day. Schumann gave the pieces to his wife Clara Schumann, whom he once described as his own right hand, as a Christmas present, calling them his hundredth opusculum. Schumann's mental health was quickly deteriorating during the time of the pieces' writing; shortly afterward, he moved from Dresden to Düsseldorf, where he was admitted to and eventually died in an asylum.On November 2, 1850, the pieces were first performed privately as a piano and violin piece with Clara Schumann on piano and François Schubert on violin. The works were first performed several years after Schumann's death, in 1863; the performances took place on January 24 and February 14 in the Gewandhaus, featuring Emilius Lund on oboe and Carl Reinecke on piano.The piece was dedicated to Wilhelm Joseph von Wasielewski. The original edition was published by N. Simrock. The publication date is unknown, but it is estimated to have been anywhere from December 1850 to February 1851. Nikolaus Simrock wrote a letter to Schumann on November 19, 1850, asking whether or not Schumann would agree if we were to print on the title page: 'for oboe and pianoforte' and on this with a violin 'for violin and pianoforte' and on the third 'for clarinet and pianoforte,' since it is not looked upon with favor when several instruments appear on the title page. However, Schumann denied the request, replying, If I had originally written the work for violin or clarinet, it would have become a completely different piece. I regret not being able to comply with your wishes, but I can do no other. Two copies of the original printing exist Schumann's copy and Wasielewski's dedication copy (both either in museums or private collections).Disobeying Schumann's wishes, Simrock published alternate violin and oboe parts in the first edition. In her compilation of Robert's works post-mortem, Clara only included the violin transcription, possibly due to her only playing the piece with violinists. There have been several recordings of the music, including a recent one along with other Schumann oboe works by Oboe Classics. The romances are now a standard part of the oboe repertoire and often considered the best piece of romantic repertoire for the oboe.
3 Romances, Op. 94 for Oboe and Piano - Robert Schumann
Hautbois, Piano (duo)

$20.00 17.06 € Hautbois, Piano (duo) PDF SheetMusicPlus

Percussion Ensemble - Level 5 - Digital Download SKU: A0.1027778 Composed by MohammadHadi Ayanbod. 20th Century,Contemporary. Score and parts. 25 pages. Rimorarte Edition #5996957. Published by Rimorarte Edition (A0.1027778). In GRAVITY I explored different gravities as forces we not only feel them in every moments of our lives, but also thinking of living without or escaping from them seems impossible. Likewise, those gravities exist in the music, make us feel the music continuous, desirable, logical and an integrated language of art. The exploration of the path from chaos to unity, and from unity to multiplicity, is where the title came from. GRAVITY consists of two main sections. The first section, which shows the fully-grown and flourished musical ecosystem, and the second part; a flashback to just after big-bang, which tries to musicalize the creation of the gravity! In the first section, I’ve used the concept of horizontal and vertical minimalism. At the very beginning of the piece we have a structure that bring the idea of the vertical minimalism out. In every moment, each instrument plays the same note as others. However, the narrative line is divided into different octaves, so, the melody is not the same in spite of the fact that each instrument plays the same tone. This structure also reminds the paradoxical ladder or optical staircase illusion. The narration is built up until it reaches temporal climax. At the same time, this melody starts again from the beginning with some microscopic differences visible vividly to musicians. This semi reciprocating musical narration, could be observed as a musical example of the staircase illusion. After this part, but still in the first section of the music, I’ve used the horizontal (traditional) minimalism idioms to explore the bounding forces present in the music. Although, what interesting here is the creation of synthetic voices which is the result of different amounts of the nuances and different combinations of the sound. For keen ears, it seems like shades of neon lights, penetrate into one another in the scale of time and create a big picture of micro fluctuating objects. In the second section or just after big-bang, I’ve observed and recreate musically, the very moment of creation of the gravity just after the big-bang. Here, we don’t have melody, rhythm, structure, narration and other aspects of the music in the traditional way, although all of them are present in the music. very single sound or noise is meaningful and showing the assemblage process of the forces in the music to create a melody line. I’ve occupied idioms of contemporary Sonorism genre to create the atmosphere. This highly complex texture shows the virtuosity of interpreters and the capability of the instruments in avant-garde literature and extended techniques. The music is concluded by a fast-tempo finale, with the instruction of fortissimo possiblile (as loud as possible). The piece, in fact, will not be finished as a morendo, but, it opens a space for hypothetically living structure; constantly grows, flourishes, shines and decays.
Gravity for Septet
Ensemble de Percussions

$16.99 14.49 € Ensemble de Percussions PDF SheetMusicPlus

Unison chorus - Digital Download SKU: C7.CGA519 Composed by Jayne Southwick Cool. Epiphany. With Speech Choir. Sacred Anthem. Octavo. 8 pages. Chorister's Guild - Digital #CGA519. Published by Chorister's Guild - Digital (C7.CGA519). UPC: 749193001479.This collection of short worship responses includes calls to worship, calls to prayer, prayer responses and benedictions. These easy, short offerings of service music will provide a meaningful addition to worship. Some have optional parts for handbells. Consider various options of placement of choir(s) and instrumentalists in the sanctuary, such as doing these antiphonally. Calls to Worship: Hallelujah! Let Everything That Breathes Praise the Lord, This is the Day That the Lord Has Made, Holy Is the Lord God Almighty, Praise the Lord, God is Spirit, Clap Your Hands for Joy, and Christ Is Risen. Calls to Prayer: The Lord is Near to All Who Call, Let Us Draw Near with a True Heart, Seek the Lord, and Bow Down Your Ear, O Lord. Prayer Responses: We Sought the Lord, We Call to You, O Lord, God Has Heard Us and We Praise You, O Lord. Benedictions: The Lord Bless You and Keep You, The God of Peace Be With You, and Peace Be With You.
Walk an Extra Mile
Chorale Unison

$1.95 1.66 € Chorale Unison PDF SheetMusicPlus

Choral Alto Voice,Bass Voice,Soprano voice,Tenor Voice (SATB) - Level 5 - Interactive Download SKU: A0.726326 Composed by Barron Brothers. This edition: Interactive Download. Folk,World. Octavo. 25 pages. Duration 281. Barron Brothers #6JvK5OaFLfcELYSz4fsbms. Published by Barron Brothers (A0.726326). Key: Ab major.**NJMEA Finalist Composition** Sun Tracks The track of the Sun across the sky leaves its shining, eternal message Illuminating, strengthening, warming... all of us who are here It shows us we are not alone. We are not alone. We are yet alive. And this fire, our fire shall not die! *- Atoni* Iyo he, iyo he; iyo he, iyo he; He, he, he, iyo he. - *Choctaw war dance* ...... Tribute to the Trail of Tears is an original SATB choir song commemorating my Choctaw heritage. When I wrote this song, I wanted to look at the Trail of Tears from the Choctaws' eyes. I did this by emphasizing the contrast between their anger with the shouting taken from a Choctaw war chant and hope with a Choctaw Sun Prayer (the sun is an important figure of hope in Choctaw spirituality), their English traditions forced upon them and their true Choctaw nature, and the betrayal of a government that was supposed to protect them. This song is designed to be slow and relaxed (~70bpm for the first part and ~85bpm for the piu mosso), with the bends representing relaxed glissandos in the voice. The last three chords are meant to be sensitive and should be taken very slowly. Keep in mind that this piece should not only be meaningful but convey the emotions to spread the Native awareness that is so direly needed in America.
Tribute to the Trail of Tears
Chorale SATB

$3.75 3.2 € Chorale SATB PDF SheetMusicPlus

Unison/Two-part chorus - Digital Download SKU: C7.CGA530 Composed by Hal H Hopson. Lent, Easter, Ascension, General. Sacred Anthem. Octavo. 16 pages. Chorister's Guild - Digital #CGA530. Published by Chorister's Guild - Digital (C7.CGA530). UPC: 000308084672.This collection of short worship responses includes calls to worship, calls to prayer, prayer responses and benedictions. These easy, short offerings of service music will provide a meaningful addition to worship. Some have optional parts for handbells. Consider various options of placement of choir(s) and instrumentalists in the sanctuary, such as doing these antiphonally. Calls to Worship: Hallelujah! Let Everything That Breathes Praise the Lord, This is the Day That the Lord Has Made, Holy Is the Lord God Almighty, Praise the Lord, God is Spirit, Clap Your Hands for Joy, and Christ Is Risen. Calls to Prayer: The Lord is Near to All Who Call, Let Us Draw Near with a True Heart, Seek the Lord, and Bow Down Your Ear, O Lord. Prayer Responses: We Sought the Lord, We Call to You, O Lord, God Has Heard Us and We Praise You, O Lord. Benedictions: The Lord Bless You and Keep You, The God of Peace Be With You, and Peace Be With You.
Praise the Lord
Chorale Unison

$2.10 1.79 € Chorale Unison PDF SheetMusicPlus

Choral Choir,Choral,SAB Chorus - Level 2 - Digital Download SKU: A0.1461383 Composed by Todd Marchand. Christian,Sacred. 5 pages. Con Spirito Music #1040136. Published by Con Spirito Music (A0.1461383). “Holy Spirit, Ever Dwelling” are the opening words to a text written by the Welsh Anglican bishop Timothy Rees (1874-1939). Throughout, Rees employs the adverb “ever” to point to both the immanence and transcendence of the Holy Spirit in its timeless and perpetual activities:Holy Spirit, ever dwelling in the holiest realms of light,Holy Spirit, ever brooding o'er a world of gloom and night,Holy Spirit, ever raising those of earth to thrones on high,living, life-imparting Spirit, you we praise and magnify.Holy Spirit, ever living as the Church's very life,Holy Spirit, ever striving through us in a ceaseless strife,Holy Spirit, ever forming in the Church the mind of Christ,you we praise with endless worship for your gracious gifts unpriced.Holy Spirit, ever working through the Church's ministry,teaching, strength'ning, and absolving, setting captive sinners free,Holy Spirit, ever binding age to age and soul to soulin communion never ending, you we worship and extol.Mostly unison, with limited SAB voicing in verses 2 and 3, “Holy Spirit, Ever Dwelling” is quick to rehearse, easy to sing, and a meaningful declaration of praise to the third Person of the Holy Trinity.©Copyright 2024 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and popular music for instruments and voices, visit www.conspiritomusic.com
Holy Spirit, Ever Dwelling — SAB voices, organ
Chorale 3 parties

$2.00 1.71 € Chorale 3 parties PDF SheetMusicPlus

Choral Choir (SA) - Level 2 - Digital Download SKU: A0.873030 Composed by Sally Whitwell. Contemporary. Octavo. 12 pages. Sally Whitwell #3869009. Published by Sally Whitwell (A0.873030). Composer’s Note - Growing into meOn a particularly blustery Winter's day, I went to the National Arboretum in my home town of Canberra, Australia, with a bunch of very lovely kids from the Woden Valley Youth Choir (WVYC). Their director Alpha Gregory had asked me to come and do a composition workshop with the kids, to which I had replied with an enthusiastic YES!.I'd done this kind of thing with WVYC before, but this time around I wanted to take it somehow to the next level, to give the piece a real sense of place, a specific and experiential connection to the local community or landscape, and the Arboretum seemed a natural choice for me for an inspirational excursion. I had a family connection to it myself at the time, my cousin Emma worked there and was very passionate about it. Also, it is an outdoorsy kind of place and I have such fond memories of outdoorsy exploratory kinds of activities filling my entire childhood, a very typically Canberran thing. I'm sure the WVYC kids have a similar experience and I hope they know how lucky they are!So we put on our winter coats and scarves and hiked up the mountain, being sure to not only look at what was there, but also to listen, to touch, to smell. It was truly a multi sensory experience. Then we all went down to a local church hall and talked about what we saw and heard and smelt and the kids were just bursting with wonderful ideas for our new song. I've incorporated as many of their ideas as possible into the completed product, as well as my own over-arching theme; the oldest of the trees at the National Arboretum are only a couple of years older than some of the children in the group, so it seemed a nice parallel to make, their growing up alongside each other. It is my hope that the writing of this piece bonds these children to this important and magical place, so ripe with possibility, and that the connection is a lasting and meaningful one for them. It certainly will be for me.-- Sally Whitwell
Growing Into Me
Chorale 2 parties

$1.99 1.7 € Chorale 2 parties PDF SheetMusicPlus

Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1461385 Composed by Todd Marchand. Christian,Sacred. 5 pages. Con Spirito Music #1040138. Published by Con Spirito Music (A0.1461385). “Holy Spirit, Ever Dwelling” are the opening words to a text written by the Welsh Anglican bishop Timothy Rees (1874-1939). Throughout, Rees employs the adverb “ever” to point to both the immanence and transcendence of the Holy Spirit in its timeless and perpetual activities:Holy Spirit, ever dwelling in the holiest realms of light,Holy Spirit, ever brooding o'er a world of gloom and night,Holy Spirit, ever raising those of earth to thrones on high,living, life-imparting Spirit, you we praise and magnify.Holy Spirit, ever living as the Church's very life,Holy Spirit, ever striving through us in a ceaseless strife,Holy Spirit, ever forming in the Church the mind of Christ,you we praise with endless worship for your gracious gifts unpriced.Holy Spirit, ever working through the Church's ministry,teaching, strength'ning, and absolving, setting captive sinners free,Holy Spirit, ever binding age to age and soul to soulin communion never ending, you we worship and extol.Mostly unison, with limited SATB voicing in verses 2 and 3, “Holy Spirit, Ever Dwelling” is quick to rehearse, easy to sing, and a meaningful declaration of praise to the third Person of the Holy Trinity.©Copyright 2024 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and popular music for instruments and voices, visit www.conspiritomusic.com
Holy Spirit, Ever Dwelling — SATB voices, organ
Chorale SATB

$2.00 1.71 € Chorale SATB PDF SheetMusicPlus

Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-36893 Composed by Aaron Shust and Dorothy Greenwell. Arranged by Camp Kirkland. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Simply Praise & Worship. Sacred. Part(s). 77 pages. Jubilate Music Group - Digital #00-36893. Published by Jubilate Music Group - Digital (JX.00-36893). English.Being human we want to fully understand, but God refuses boxes or books or human created thologies whose purpose is to help us feel comfortably equal. However, there are truths we can count on. In a simple, meaningful song by Aaron Shust there is truth. My Savior loves, my Savior lives, my Savior's always there for me . . . ; we can count on that. Camp Kirkland has crafted a straightforward arrangement of Shust's popular praise and worship song and you can count on it to strengthen and deepen worship. Related scripture: Mark 6:19; John 3:16; Revelation 1:18.
My Savior, My God

$60.00 51.18 € PDF SheetMusicPlus

Clarinet and piano - intermediate to advanced - Digital Download SKU: S9.Q53276 Pensées Fugitives, No. 1. Composed by Joseph Williams. Edited by Rainer Mohrs and Rudolf Mauz. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 7 pages. Schott Music - Digital #Q53276. Published by Schott Music - Digital (S9.Q53276). German • Danish.Unfortunately, little is known about Joseph Williams. According to the title page of the edition, he was ‘Première Clarinette solo de la chapelle de S. Majesté la reine de l’Angleterre‘ (first clarinet soloist in the Chapel of Her Majesty the Queen of England). We also know that Williams also frequently appeared as a basset horn player in London. The two ‘fleeting pieces‘ with the titles Mélodie – Caprice and Bolero were published in 1859 (plate number 14621).
Mélodie – Caprice
Clarinette

$3.99 3.4 € Clarinette PDF SheetMusicPlus

Clarinet and piano - intermediate to advanced - Digital Download SKU: S9.Q53277 Pensées Fugitives, No. 2. Composed by Joseph Williams. Edited by Rainer Mohrs and Rudolf Mauz. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 10 pages. Schott Music - Digital #Q53277. Published by Schott Music - Digital (S9.Q53277). German • Danish.Unfortunately, little is known about Joseph Williams. According to the title page of the edition, he was ‘Première Clarinette solo de la chapelle de S. Majesté la reine de l’Angleterre‘ (first clarinet soloist in the Chapel of Her Majesty the Queen of England). We also know that Williams also frequently appeared as a basset horn player in London. The two ‘fleeting pieces‘ with the titles Mélodie – Caprice and Bolero were published in 1859 (plate number 14621).
Bolero
Clarinette

$3.99 3.4 € Clarinette PDF SheetMusicPlus

Guitar (jazz and contemporary) - Intermediate - Digital Download SKU: M0.93721EB Composed by Vincent Bredice. Improvising, Lines & Phrases. Jazz. E-book. Mel Bay Publications - Digital Sheet Music #93721EB. Published by Mel Bay Publications - Digital Sheet Music (M0.93721EB). ISBN 9781619119710. 8.75x11.75 inches.An interval is the distance between two notes measured in whole and half steps.  When we stack intervals one on top of another, we produce chords. If we play the intervals in the chord one after another, we produce an arpeggio. But since all intervals, chords, and arpeggios are generated by scales, it follows that scales are the basis of all music from these scales we will find our JAZZ LINES, which is what this book is about. The following is a list of most of the jazz scales the student will encounter as he becomes involved in the study of improvising.  When we improvise, we use as our weapons the scale, harmony and melody.  The two dimensions in music are the harmony (vertical) and melody (horizontal). It is highly recommended that every student of improvising, know his scales in all positions and a variety of chords that the scales generate. All scales should be played in at least four positions especially the 1st position forces one to learn the theory. All other position pattern scales must be transposed throughout the guitar. The author has written a few pages in the beginning of the book serving as a prerequisite for the jazz lines to follow.  It is essential that the student know the scales, key signatures, intervals, and chord constructions that will be used throughout the book. In order to benefit fully from this approach to jazz, the student must understand the full meaning of the words practice and analysis. Most students confuse practice with playing or reading through the exercise. To really improve and absorb the material, every phase must be practiced. This means the fingering must be committed to memory, slowly at first and then as fast as technique allows. The idea must be so ingrained in the mind that it flows from any part of the fingerboard that the performer desires. This is the way great players approach an idea – from any fret, string or position! If there is no harmonic or melodic analysis of the material being studied, then the learning skill becomes superfluous and there is no comprehension and absorption, and without this proper digestion the performer cannot use it as his taste dictates. All of the great players, have had a great technique and this is the first goal of the young student – “great chops.†As the student matures, musicianship will grow but technique is at the grasp of all who seek it.  Start today to acquire it!
Jazz Guitar Lines

$22.99 19.61 € PDF SheetMusicPlus






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