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Piano Trio,String Ensemble - Digital Download SKU: A0.976888 Composed by Monica Bergo. Contemporary. Score and parts. 61 pages. Monica Bergo #3407377. Published by Monica Bergo (A0.976888).                                               E INTANTO FUORI PIOVE                                          Respiri così piano non mi vuoi disturbare aspetti che un sorriso ti possa illuminare sei dolce e delicato un angelo smarrito ti guardo e ho male al cuore e intanto fuori piove   mentre mi stai a guardare respiro il tuo sapore e come fosse un mare m'immergo nel dolore dei voli tuoi inibiti dei sogni calpestati ti avrei potuta amare e intanto fuori piove   Mi manca il fiato in questa stanza io ormai non riesco neanche a respirare e bussi al mio castello senza un re ma adesso io non posso farti entrare ed è lontano il giorno in cui per te sacrificavo tutto e offrivo il cuore ricordo bene le parole tue non sono un uomo , dai lasciami andare ora hai capito da che parte stai ma ero così stanca di aspettare e briciole d'amore su di noi 2 Peter Pan cresciuti mai   le stelle più brillano più in fretta poi scompaiono pianeti che piangono e i miei colori sciolgono la pioggia che spegnerà le fantasie tue inutili regalami un'altra età ed occasioni nuove fuori piove mi incateni in questo limbo di domande e di rimpianto preferivo il tuo silenzio e sono strega e poi regina di un reame senza incanto non tornare nel mio mondo se trasformi l'acqua in pianto   piove dentro me nell'anima ferma qui immobile cerco la tua immagine ma non sei più quel ragazzo fragile che inventava favole e scrutava nuvole chi sei ora?   resto qui in bilico abbracciata a un incubo nel mio modo atipico di cadere penso a te e precipito sola in questo baratro l'apertura d'ali mi fa planare   Accordi cullano e note accarezzano anime danzano al ritmo di un brivido suono per ciò che poteva e non è suono solo per te   straziami, illudimi fammi decidere se senza un sogno si può sopravvivere cala il sipario del tempo su noi strani attori di un poi andato in scena    (mai)   come una malattia che non si cura e che non guarirà (sei dentro me) cuore che scalpita e perde i suoi battiti mente che scivola su questi attimi (e vola via)   catene stridono su questa nostra età mani si sfiorano e intanto fuori piove (e dentro me)   fragile il margine tra sogno e realtà sottile il limite tra corpo e anima (e ti vorrei) in dimensioni ancora da vivere amami se vorrai ma non so ancora dove e intanto fuori piove   e stringo forte il filo di un aquilone in mano un volo di pensieri mentre sei già lontano i sensi miei impazziti inghiotto i miei sospiri e intanto spunta il sole ma dentro di me ..piove..         &n.
E intanto fuori piove

$3.99 3.46 € PDF SheetMusicPlus

Clarinet Quartet,Woodwind Ensemble - Level 5 - Digital Download SKU: A0.1240945 Composed by Everardo García Vargas. Chamber,Classical,Holiday,Multicultural,Traditional,World. 43 pages. Everardo García Vargas #836339. Published by Everardo García Vargas (A0.1240945). Fusión Mixe - Cuarteto para ClarinetesLa obra “Fusión Mixe†es una creación única e innovadora que combina elementos de la música tradicional de la región mixe con ritmos, armonías y melodías contrapuntísticas contemporáneas y prehispánicas. Esta fusión se inspira en los motivos rítmicos y melódicos de la pieza musical ceremonial “Sones y Jarabes Mixes†del reconocido compositor Rito Marcelino Rovirosa. En “Fusión Mixe†se reflejan las ricas tradiciones y costumbres de la región mixe, incluyendo ceremonias y ritos en honor a la madre naturaleza y al rey “Konk ëy†(rey bueno). También se plasman experiencias vividas en el pueblo y en la región mixe, donde aún se conserva y se habla la lengua mixe con mucho orgullo. Haber nacido en la comunidad de Tlahuitoltepec Mixe, Oaxaca, México, es un privilegio que me permite una conexión profunda con estas raíces culturales.La obra musical ceremonial “Sones y Jarabes Mixesâ€, compuesta por Rito Marcelino Rovirosa, es ampliamente reconocida como uno de los himnos representativos de la región Mixe. Además de ser una pieza musical, también es un baile que forma parte integral de la cultura Mixe del estado de Oaxaca, México. El mismo autor también compuso un himno específico para la región titulado “Himno Mixeâ€. En la tradición y costumbres de esta región, se realizan ceremonias y ritos para agradecer o pedir a las potencias naturales como el rayo, el viento, el agua, el sol, la montaña, la madre tierra y al rey “Konk ëy†(rey bueno), quien representa el vínculo con lo sagrado. Estas ceremonias pueden tener como objetivo tener una buena cosecha, alejar un mal sobrenatural, mejorar las condiciones de vida, tener abundancia económica o un buen año. Durante estas ceremonias se ofrendan bebidas como tepache y mezcal, alimentos y música, incluyendo sones y jarabes para bailar.
Fusión Mixe - Cuarteto para Clarinetes
Quatuor de Clarinettes: 4 clarinettes

$50.00 43.4 € Quatuor de Clarinettes: 4 clarinettes PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download SKU: A0.958783 Composed by Benjamín Tagle Lara y Carlos V. G. Flores. Arranged by Juan Carlos Cortés A. 20th Century,Concert,Standards,Traditional,World. Score. 2 pages. Juan Carlos Cortés Aguirre #6872627. Published by Juan Carlos Cortés Aguirre (A0.958783). Transcripción para Piano Solo por:JUAN CARLOS CORTÉS A.Basado en la versión vocalizada por el cantor argentino Lalo Martel co el acompañamiento de la Orquesta Típica dirigida por Alfredo de Angelis.SIEMPRE AMIGOSLetra: Benjamín Tagle LaraMúsica: Carlos V. G. Flores (Alejandro Carlos Vicente Geroni Flores)INTRODUCCIÓN:Sentáte y escuchá... pero escondé las lágrimasSabiendo que tu llanto, ya no me va a engañar,Y si por verme has vuelto, pasá, ya que has venidoAl fin somos amigos y es grato conversar.Pero ni me menciones que estás arrepentidaY que desengañada, volvés por conquistarAquel nido de amores, destruido por tu culpaY que los dos recuerdas, juramos conservar.Sentáte, así me cuentas, qué has hecho de tu vidaDesde la tarde aquella, en que te echó a perder,Quién sabe si consejos de malas compañíasLas locas aventuras, te hicieron entrever.Te veo aquella tarde, paseándote nerviosaMirándome de reojo, dejando comprender,De que algo me ocultabas y yo en silencio siempreSujeto a tus caprichos, tu gusto dejé hacer.Recuerdas que luciste, el trajecito últimoQue para tu cumpleaños te había hecho hacer,Y que en un beso frío, diciéndome: ya vengo,Saliste y desde entonces recién te vuelvo a ver.Levanta la cabeza y no te pongas tristeNo ves que sos mi amiga y siempre lo serás,Y siempre que te acuerdes vení a visitarmeQue somos siempre amigos, amigos nada más.Te vas y no me cuentas qué has hecho de tu vidaDesde que tus caprichos te echaron a rodar,Pero sí te agradezco el que de mí te acuerdesYa sabes, cuando quieras, veníme a visitar.Y si alguien te pregunta por ahí si no me has vistoSin ocultarle nada, así contestarás:De que nos vemos siempre,que somos siempre amigos¡Pero no olvides nunca, amigos, nada más!
Siempre amigos Por: Benjamín Tagle Lara y Carlos V. G. Flores
Piano seul

$7.99 6.94 € 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 3.46 € Chorale TTBB PDF SheetMusicPlus

B-Flat Clarinet Solo - Level 5 - Digital Download SKU: A0.1247317 Composed by Everardo García Vargas. Chamber,Classical,Holiday,Multicultural,Traditional,World. Individual part. 9 pages. Everardo García Vargas #841935. Published by Everardo García Vargas (A0.1247317). Fusión Mixe - Para Clarinete Solo en BbLa obra “Fusión Mixe†es una creación única e innovadora que combina elementos de la música tradicional de la región mixe con ritmos, armonías y melodías contrapuntísticas contemporáneas y prehispánicas. Esta fusión se inspira en los motivos rítmicos y melódicos de la pieza musical ceremonial “Sones y Jarabes Mixes†del reconocido compositor Rito Marcelino Rovirosa. En “Fusión Mixe†se reflejan las ricas tradiciones y costumbres de la región mixe, incluyendo ceremonias y ritos en honor a la madre naturaleza y al rey “Konk ëy†(rey bueno). También se plasman experiencias vividas en el pueblo y en la región mixe, donde aún se conserva y se habla la lengua mixe con mucho orgullo. Haber nacido en la comunidad de Tlahuitoltepec Mixe, Oaxaca, México, es un privilegio que me permite una conexión profunda con estas raíces culturales.La obra musical ceremonial “Sones y Jarabes Mixesâ€, compuesta por Rito Marcelino Rovirosa, es ampliamente reconocida como uno de los himnos representativos de la región Mixe. Además de ser una pieza musical, también es un baile que forma parte integral de la cultura Mixe del estado de Oaxaca, México. El mismo autor también compuso un himno específico para la región titulado “Himno Mixeâ€. En la tradición y costumbres de esta región, se realizan ceremonias y ritos para agradecer o pedir a las potencias naturales como el rayo, el viento, el agua, el sol, la montaña, la madre tierra y al rey “Konk ëy†(rey bueno), quien representa el vínculo con lo sagrado. Estas ceremonias pueden tener como objetivo tener una buena cosecha, alejar un mal sobrenatural, mejorar las condiciones de vida, tener abundancia económica o un buen año. Durante estas ceremonias se ofrendan bebidas como tepache y mezcal, alimentos y música, incluyendo sones y jarabes para bailar.
Fusión Mixe - Para Clarinete Solo en Bb
Clarinette

$18.00 15.63 € Clarinette PDF SheetMusicPlus

Guitar - Level 4 - Digital Download SKU: A0.1196426 Composed by Emmanuel Cabrera Lagunas. Chamber,Contemporary,Multicultural,World. 37 pages. Emmanuel Cabrera Lagunas #795566. Published by Emmanuel Cabrera Lagunas (A0.1196426). Contrastes es una obra escrita para el cuarteto de guitarras hidalguense ¨Emiola¨, quienes fueron alumnos del autor en el año 2016. La pieza, construida en una forma sonata contiene puentes y secciones contrastantes buscando combinar elementos modales que recuerdan la música de la antigua Grecia, elementos de la música popular como el blues y rítmicas de la música folklórica mexicana. Al igual que en la mayoría de sus obras para guitarra, el compositor se apoya de diversos estilos musicales que lo han influenciado a lo largo de su vida para generar y mostrar su propia personalidad, haciendo hincapié de esta manera en la universalidad de la música sin importar la segregación que existe a causa de la división en estilos musicales.
Contrastes

$8.00 6.94 € PDF SheetMusicPlus

Choral Choir,Choral (SATB divisi) - Level 3 - Digital Download SKU: A0.1285988 Composed by Paul M. Osborne. 21st Century,A Cappella,Classical,Contemporary,Contest,Festival. 6 pages. Paul M Osborne #877111. Published by Paul M Osborne (A0.1285988). Midnight Star, set to an original sonnet by Kristopher R. McGuire, is a lush, longing work on the topic of unrequited love. Composed in 2005, this piece was first premiered in 2013 by Resonance Vocal Ensemble.Themes: Love (Unrequited), BeautyVoicing: SATB divisi, a cappellaPaul Osborne is a choral director, tenor soloist, and composer/arranger from California's Central Coast.  He received his degree at Concordia College in Moorhead, MN, where he studied choral conducting with René Clausen.  He serves as Chorus Master for Opera San Luis Obispo and Central Coast Gilbert and Sullivan, is the founder and director of Resonance Vocal Ensemble, and is the former choral director at San Luis Obispo High School. He has been a passionate composer and arranger of choral music for over 20 years.
Midnight Star
Chorale SATB

$1.99 1.73 € Chorale SATB PDF SheetMusicPlus

Choral Choir,Choral (SATB divisi) - Level 3 - Digital Download SKU: A0.1285994 By Various Artists. By Oscar Hammerstein and Richard Rodgers. Arranged by Paul M. Osborne. Broadway,Musical/Show,Standards. 6 pages. Paul M Osborne #877117. Published by Paul M Osborne (A0.1285994). A popular solo number from the well-known musical South Pacific, Some Enchanted Evening is a choral arrangement meant to expand upon the original to be suitable for choral groups and larger-scale performance settings. Perfect for Pops Concerts, this arrangement was premiered by the Opera San Luis Obispo Grand Chorus for their Symphony at Sunset in 2016.Voicing: SATB divisi + pianoPaul Osborne is a choral director, tenor soloist, and composer/arranger from California's Central Coast.  He received his degree at Concordia College in Moorhead, MN, where he studied choral conducting with René Clausen.  He serves as Chorus Master for Opera San Luis Obispo and Central Coast Gilbert and Sullivan, is the founder and director of Resonance Vocal Ensemble, and is the former choral director at San Luis Obispo High School. He has been a passionate composer and arranger of choral music for over 20 years.
Some Enchanted Evening
Chorale SATB
Various Artists
$1.99 1.73 € Chorale SATB PDF SheetMusicPlus

Double Bass,String Bass Solo - Level 3 - Digital Download SKU: A0.1414808 Composed by Stanley M Hoffman. 21st Century,Classical. Individual part. 1 pages. Stanleymhoffman.com #996583. Published by stanleymhoffman.com (A0.1414808). THE SNEAK depicts a big old sneaky guy lurking around in the dark. Spying what he wants to purloin, he makes a go for it and, successful, he scampers away in much the same way in which he first arrived.---THE SNEAK was premiered on April 5th, 2024 in celebration of the 150th anniversary of Serge Koussevitzky's Birth, at Winifred Smith Hall, Claire Trevor Schools of the Arts, University of California at Irvine, by bassist Matt Hare. The concert included works composed by Koussevitzky, dedicated to him, commissioned by the Koussevitzky Foundation. Matt Hare performed on Koussevitzky's personal instrument, on special loan for that recital. The concert was presented in association with the ongoing Fifteen Minutes of Fame concert series of Vox Novus which is headed by Robert Voisey. Information about Matt Hare can be found at: https://music.arts.uci.edu/faculty/matt-hare; information about this concert can be found at: http://www.voxnovus.com/15_Minutes_of_Fame/featuring/150_Anniversary_of_Serge_Koussevitzky/.---THE SNEAK for Contrabass Solo by Stanley M. Hoffman. Music: © Copyright 2023 by Stanley M. Hoffman. www.stanleymhoffman.com All rights reserved.---#NewMusic #InstrumentalSolos #Bass #Contrabass #DoubleBass #StringBass.
The Sneak
Contre Basse

$2.00 1.74 € Contre Basse PDF SheetMusicPlus

Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.1285510 Composed by Paul M. Osborne. 21st Century,Classical,Contemporary,Contest,Festival. 7 pages. Paul M Osborne #876615. Published by Paul M Osborne (A0.1285510). Written in 2019 for the Young Men's Ensemble of the Central Coast Youth Chorus, Of a Lover's Dream is an ideal work for intermediate male ensembles both young and old. This work is a dreamy and passionate profession of love, set to an original poem by Kristopher R. McGuire. Featuring both sections of homophonic singing as well as canonic polyphonic singing, ranging from solemn to soaring, this piece takes your audience on a journey.Voicing: TBB + PianoThemes: Love, Dreams, AdventurePaul Osborne is a choral director, tenor soloist, and composer/arranger from California's Central Coast.  He received his degree at Concordia College in Moorhead, MN, where he studied choral conducting with René Clausen.  He serves as Chorus Master for Opera San Luis Obispo and Central Coast Gilbert and Sullivan, is the founder and director of Resonance Vocal Ensemble, and is the former choral director at San Luis Obispo High School. He has been a passionate composer and arranger of choral music for over 20 years.
Of a Lover's Dream
Chorale TTBB

$1.99 1.73 € Chorale TTBB PDF SheetMusicPlus






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