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Clarinet,Guitar - Level 4 - Digital Download SKU: A0.1506755 By András Csáki (guitar) and Péter Balázs (clarinet). By David Warin Solomons. 21st Century,Contemporary. Full Performance. Duration 178. David Warin Solomons #1082126. Published by David Warin Solomons (A0.1506755). Arrangement of Ariette Oubliée No 4 originally written for alto and guitar (also available on this site). The song is based on a poem by Paul Verlaine in which he imagines himself and his boyfriend Rimbaud as two innocent little girls.Original poem:Il faut, voyez-vous, nous pardonner les choses:De cette façon nous serons bien heureusesEt si notre vie a des instants moroses,Du moins nous serons, n`est-ce pas? deux pleureuses.Ô que nous mêlions, âmes soeurs que nous sommes,A nos voeux confus la douceur puérileDe cheminer loin des femmes et des hommes,Dans le frais oubli de ce qui nous exile !Soyons deux enfants, soyons deux jeunes fillesÉprises de rien et de tout étonnéesQui s`en vont pâlir sous les chastes charmillesSans même savoir qu`elles sont pardonnées.Paul Verlaine[literal translation into English]You see, you`ll have to forgive us a few thingsThen we`ll be two happy little girlsAnd if our life is a bit sad at timesat least there will be two of us sobbing together, won`t there?Oh sister souls that we are, wouldn`t we just mingleChildish sweetness with our embarassed vowsTo wander far from the world of adultsAnd forget our banishment in all our fresh innocenceLet`s be two children, two little girlsIn love with nought and astonished by allGoing pale-faced down innocent tree-lined pathsNot even aware that they`ve been forgiven.
Ariette Oubliée No 4 for clarinet and classical guitar (mp3)
András Csáki (guitar) and Péter Balázs (clarinet)
$5.00 4.26 € PDF SheetMusicPlus

Vocal Solo,Voice - Level 2 - Digital Download SKU: A0.805743 Composed by Darren Day. Concert,Contemporary,Standards. 5 pages. Darren Day Piano #5776895. Published by Darren Day Piano (A0.805743). A jaunty and lively orignal musical setting of the poem ‘Mr. Nobody’.Range C-Eb I know a funny little man,As quiet as a mouse,Who does the mischief that is doneIn everybody’s house.There’s no one ever sees his face,And yet we all agreeThat every plate we break was crackedBy Mr., Nobody‘Tis he who always tears our books,who leaves our doors ajar;he pulls the buttons from our shirts,and scatters pins afar,that squeaking door will always squeak,because of this you see:we leave the oiling to be doneby Mr Nobody.He puts damp wood upon the fire,So kettles cannot boil;His are the feet that bring in mudAnd all the carpets soil.The papers always are mislaid,Who had them last but he?There’s no one tosses them aboutBut Mr. Nobody
"Mr. Nobody"
Mr , Nobody

‘Tis he who always tears our books,
who leaves our doors ajar;
he pulls the buttons from our shirts,
and scatters pins afar,
that squeaking door will always squeak,
because of this you see:
we leave the oiling to be done
by Mr Nobody

$4.99 4.25 € PDF SheetMusicPlus

Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1367409 Composed by English ballad. Arranged by Todd Marchand. Christian,Easter,Lent,Sacred. 5 pages. Con Spirito Music #951781. Published by Con Spirito Music (A0.1367409). Perhaps the most often-sung processional hymn on Palm Sunday, “Ride On, Ride On in Majesty†was written in 1820 by Anglican cleric, poet, and scholar Henry Hart Milman (1791-1868) and first  published in Reginald Heber’s Hymns Written and Adapted to the Weekly Church Service of the Year (1827). The hymn references Jesus’ entry into Jerusalem prior to his Passion, as recorded in Matthew 21:1-11.Writing for the Hymnology Archive of The Hymn Society in the US and Canada, editor Chris Fenner notes in his analysis of the text that:“This hymn ... is much less a narrative or paraphrase of the triumphal entry (Matt. 21, Mk. 11, Lk. 19, Jn. 12) than it is a forward-looking hymn pointing from the palms to the cross to [Jesus’] ascended position on the throne. The triumphal entry itself is a fulfillment of Zechariah 9:9 (‘Behold, your king is coming to you . . . humble and mounted on a donkey’). The recurring opening line is possibly an allusion to Psalm 45:4 (‘in thy majesty ride prosperously’). “Some hymnological commentators connect this hymn with the idea of the great reversal in Philippians 2:5-12, where we find the Christ who humbled himself in a crucified death, later to be exalted, name above all names, to which every knee will bow. As Canadian hymn scholar Stanley Osborne observed, this hymn’s poetic strength is in its exploration of that duality:'Objective, robust, confident, and stirring, it possesses that peculiar combination of tragedy and victory which draws the singer into the very centre of the drama. It is this which gives the hymn its power and its challenge.'In this arrangement for SATB voices and organ, Milman’s text is set to the 15th-century English ballad, “Deo Gratias†(aka The Agincourt Carol), with the refrain Ride on in majesty!†following each verse.©Copyright 2024 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com
Ride On! Ride On in Majesty! — SATB voices, organ
Chorale SATB

$2.00 1.71 € Chorale SATB PDF SheetMusicPlus

Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.575588 Composed by David Warin Solomons. Christian,Contemporary,Sacred. Octavo. 14 pages. David Warin Solomons #2026219. Published by David Warin Solomons (A0.575588). Version for double choir (mixed voices) SAT-SAT This setting of the Magnificat and Nunc Dimittis (called Canticula Ursae Minoris - songs of a little bear) is based on my oratorio in which I set a chapter of Winnie the Pooh (Now we are six - The Expotition to the North Pole). The tunes are and light and playful but the complexity makes it suited to a Cathedral or Church setting. The oratorio itself (The Poohratorio, composed in 1977) has not yet been published here due to copyright on the works of A A Milne, but the melodies are entirely mine. You may be able to guess some of the characters whose leitmotifs in the oratorio are used in this setting. In particular, the lesser doxology (Glory be to the Father) makes great use the theme of Eeyore, the complaining donkey. The sound sample is performed by Matthew Curtis of choraltracks.com.
Magnificat and Nunc Dimittis (mixed voices double choir) (Canticula Ursae Minoris)
Chorale SATB

$2.99 2.55 € Chorale SATB PDF SheetMusicPlus

Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.575587 Composed by David Warin Solomons. Christian,Contemporary,Sacred. Octavo. 15 pages. David Warin Solomons #2026217. Published by David Warin Solomons (A0.575587). Version for double choir men's voices (ATB-ATB) This setting of the Magnificat and Nunc Dimittis (called Canticula Ursae Minoris - songs of a little bear) is based on my oratorio in which I set a chapter of Winnie the Pooh (Now we are six - The Expotition to the North Pole). The tunes are and light and playful but the complexity makes it suited to a Cathedral or Church setting. The oratorio itself (The Poohratorio, composed in 1977) has not yet been published here due to copyright on the works of A A Milne, but the melodies are entirely mine. You may be able to guess some of the characters whose leitmotifs in the oratorio are used in this setting. In particular, the lesser doxology (Glory be to the Father) makes great use the theme of Eeyore, the complaining donkey. The sound sample is performed by Matthew Curtis of choraltracks.com.
Magnificat and Nunc Dimittis (men's voices double choir) (Canticula Ursae Minoris)
Chorale SATB

$2.99 2.55 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SAB) - Level 4 - Digital Download SKU: A0.1126896 Composed by Philip Le Bas. A Cappella,Christian,Easter,Religious,Sacred. Octavo. 6 pages. Philip Le Bas #727543. Published by Philip Le Bas (A0.1126896). A new acclamation for Palm Sunday, composed by Philip Le Bas. Jesus enters Jerusalem riding on a donkey and the people acclaim him as the long-awaited Messiah (the Son of David.) We, in hind-sight, know that they will turn on him within a few days and will have him crucified. It is a moment of excitement and celebration, as the people see all their hopes fulfilled. The Christian liturgy reflects this, often with a congregational procession into the church accompanied by the words below. The music is simple and joyful, and is scored for just three different choral voices (SABar/SAMen), typical of those available in parish churches. After an initial syncopated section, there follows a middle section of dotted rhythms, before returning to the syncopated theme, and ending in a glorious rising Tierce de Picardie. The work is short, breathless and exciting, matching the mood of that early moment in the Palm Sunday celebration.
Hosanna to the Son of David
Chorale 3 parties

$1.99 1.7 € Chorale 3 parties PDF SheetMusicPlus






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