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Rhythm Section SATB Chorus divisi,Voice - Level 5 - Digital Download SKU: A0.1453743 Composed by Chris Jasper, Ernie Isley, Marvin Isley, O'Kelly Isley, Ronald Isley, and Rudolph Isley. Arranged by Kerry Marsh. Funk,Jazz,Pop,Soul. Vocal Jazz Ensemble. 52 pages. Kerry Marsh #1032960. Published by Kerry Marsh (A0.1453743). This arrangement, sold at SheetMusicPlus.com and SheetMusicDirect.com at a much lower price than the standard flat-fee range ($60 to $75), does NOT come with a demo recording or any rehearsal audio aids. Visit KerryMarsh.com and purchase the All Tracks Pack with SkyTracks (No Sheet Music) package and receive access to: 1. Arrangement Demo, 2. SkyTracks Mixer access, 3. Vocal Part Tracks, 4. Minus-One Tracks, 5. Rhythm Track, 6. Recording Stems (for those who wish to use their own Digital Audio Workstation)Them Changes is a standout track by Thundercat, featuring a funky, bass-driven groove that highlights Thundercat's virtuosic bass playing and unique blend of jazz, funk, and R&B influences. The lyrics explore themes of heartbreak and emotional turmoil, delivered with Thundercat's signature falsetto vocals.Kerry Marsh's vocal jazz arrangement begins with an a cappella rendition of the song's bridge, serving as a teaser before launching into the now-iconic drums and bass groove. A hallmark of neo-soul, the dissonance between the chord changes and the melody can present challenges for vocal harmonies. This arrangement skillfully navigates these tricky spots, employing octaves and unison writing to minimize clashes, and then breaking out into lush, dense harmonies where they are most effective.The chart concludes with a space for vocal or instrumental improv, accompanied by vocal backgrounds, ending the piece in a sudden and unconventional manner. This modern-day classic will be a hit with your vocal jazz ensemble, offering something for singers, instrumentalists, and the audience alike to enjoy.Perfect for advanced ensembles looking to explore contemporary jazz-funk, this arrangement captures the essence of Thundercat's innovative style while providing a fresh and exciting challenge. Check out the Scoreflipper preview to see how this arrangement can elevate your group's performance and captivate your audience.
Them Changes
Chorale SATB

$49.99 42.66 € Chorale SATB PDF SheetMusicPlus

Small Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,Drums,Euphonium,Flute,Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.823315 By The Weeknd. By Abel Tesfaye, Ahmad Balshe, Benjamin Diehl, Emmanuel Nickerson, Henry Walter, and Martin McKinney. Arranged by Joel Knipe. Pop,R & B. Score and parts. 45 pages. Joel Knipe #6073719. Published by Joel Knipe (A0.823315). This frantic, chaotic chart will be an excellent addition to any pep band folder! The Weeknd's False Alarm, arranged for pep band, start fast and intense and never lets up. Your band and crowd will love the unrelenting energy of the chart and will surely help fire up your team as well, no matter what the season! Many parts have optional octaves and divisi sections can be totally optional, allowing for flexible instrumentation. Arranged for pep band. Intermediate difficulty.
False Alarm
The Weeknd
$54.99 46.93 € PDF SheetMusicPlus

Choral Choir,Choral,SATB Chorus divisi - Level 2 - Digital Download SKU: A0.1503412 Composed by Iain Cook, Lauren Mayberry, and Martin Doherty. Arranged by Andrew Montano. A Cappella,Pop. 15 pages. Andrew Montano #1078860. Published by Andrew Montano (A0.1503412). He Said She Said was the first song CHVRCHES composed for their fourth album after the COVID-19 pandemic. The meaning behind the track focuses on the pressures of being true to oneself and living up to expectations, especially in the ongoing age of social media.The verses describe a hypocrisy and controlling, manipulative struggle with the singer's physicality and mental state. The quotes tell her to act a certain way or mold into a specific shape, but also mention to not go too far in either category. Not having a clear direction and attempting to please others makes the singer feel like they're losing their mind.Lauren Mayberry, the lead vocalist, said The barebones of thesong were there in about an hour and the opening line of thesong was the first lyric that came out.The song released with a music video following Mayberry trapped inside a transparent revolving door with no way ofescaping. She's seen bashing against the glass attempting to break out with shots of her spinning around.Martin Doherty, the synthesist and producer of the band, said The chords felt like they had this eternal tension in them—they never actually release, even though they get really big. Itfeels to me like a panic attack.The lyrics enhance this tense suffocation with Mayberry's build up in the pre chorus followed by her highest range in the chorus. She switches between a false voice/autotune into her natural voice after breaking free from the silence. Almost as if her falsified persona is begging for release but no one responds to her cry for help.
He Said She Said
Chorale SATB

$4.99 4.26 € Chorale SATB PDF SheetMusicPlus

Large Ensemble Clarinet,Drum Set,Drums,Trombone,Trumpet,Tuba,Voice - Level 3 - Digital Download SKU: A0.734796 Composed by Traditional. Arranged by Joseph Hasper. Folk,Jazz,Traditional. Score and parts. 14 pages. Joseph Hasper #3213083. Published by Joseph Hasper (A0.734796). Traditional sailor's song arranged for German Band with two clarinets, trumpet, trombone, tuba, and optional drums. Includes a full score and all parts. Includes optional lyrics that let you sing a verse! Key of F. 81 measures, 20pages.Barnacle Bill the Sailor is an American drinking song adapted from Bollocky Bill the Sailor, a traditional folk song originally titled Abraham Brown. The first printed version of the song is in the public domain book Immortalia (1927). Later versions feature the eponymous Barnacle Bill, a fictional character loosely based on a 19th-century San Francisco sailor and Gold Rush miner named William Bernard. Versions are also known in England and Scotland from the early twentieth century.One version of Barnacle Bill refers to an exchange between Bill and a fair young maiden. Each verse opens with inquiries by the maiden, sung by women, or by men in falsetto, and continues with Bill's profane responses sung by men.Barnacle Bill the Sailor (Roud 4704) is an American drinking song adapted from Bollocky Bill the Sailor, a traditional folk song originally titled Abraham Brown.[1]There are several versions of the bawdy song in the Gordon Inferno Collection at the Library of Congress folklife archive. The first printed version of the song is in the public domain book Immortalia (1927). Later versions feature the eponymous Barnacle Bill, a fictional character loosely based on a 19th-century San Francisco sailor and Gold Rush miner named William Bernard.[2] Versions are also known in England and Scotland from the early twentieth century.The earliest known recording is an expurgated adaptation by Carson Robison and Frank Luther in 1928. This version was also recorded on May 21, 1930 by Bix Beiderbecke and Hoagy Carmichael with Carson Robison on vocals and released as a Victor 78, V-38139-A and 25371. In 1996 it was released on CD on the album Bix Beiderbecke 1927–1930.[3] According to Philip R. Evans, Bix Beiderbecke's biographer, in the second chorus of this recording, violinist Joe Venuti can be heard singing Barnacle Bill the Shit-head, either to express his attitude toward the record producer, or typical of his wacky sense of humor. Esten Spurrier, a friend of Beiderbecke's, is quoted by Evans as saying that Beiderbecke told him he could not believe the record would be pressed and had felt that it had been done just for laughs. Beiderbecke cut loose on the tune with what is believed to be one of his finest cornet solos. John Valby (aka Dr. Dirty) also recorded the song.The tune has inspired a Fleischer Studios Betty Boop cartoon and two films, as well as the name of a rock on Mars. Louis Jordan and the Tympany Five (then known as The Elks Rendezvous Band) recorded a clean version in 1938.[4] In the first Fleischer Popeye cartoon, Popeye the Sailor (1933), Barnacle Bill was used as the recurring theme for the Bluto character. A later Fleischer Popeye cartoon, Beware of Barnacle Bill (1935), is a mock operetta based around a toned-down version of the song.Example of lyrics[edit]One version of Barnacle Bill refers to an exchange between Bill and a fair young maiden. Each verse opens with inquiries by the maiden, sung by women, or by men in falsetto, and continues with Bill's profane responses sung by men.
Barnacle Bill the Sailor (for German Band)

$11.99 10.23 € PDF SheetMusicPlus

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1454233 Composed by John Sheeles (1688-1761). Arranged by Konrad Harley (1986-). Baroque. Score. 3 pages. Konrad Harley #1033365. Published by Konrad Harley (A0.1454233). Based on the melody by John Sheeles (1688-1761) in The Musical Miscellany, Vol. IV (London: John Watts, 1730), p. 88. Arranged by Konrad Harley (1986-), 2024. Words by Sappho (c.630 – c.570 BCE), tr. Ambrose Philips (1674–1749).Text: O Venus! Beauty of the Skies,To whom a thousand Temples rise;Gaily false in gentle Smiles,Full of Love-perplexing Wiles;O Goddess! from my Heart removeThe wasting Cares and Pains of Love;The wasting Cares and Pains of Love.Thou once didst leave Almighty Jove,And all the Golden Roofs above:The Car thy wanton Sparrows drew,Hov'ring in Air they lightly flew;As to my Bow'r they wing'd their way,I saw their quiv'ring Pinions play,I saw their quiv'ring Pinions play.Celestial Visitant, once moreThy needful Presence I implore!In Pity, come and ease my Grief,Bring my distemper'd Soul Relief;Favour thy Suppliant's hidden Fires,And give me all my Heart desires,And give me all my Heart desires.
Sappho's Hymn to Venus
Piano, Voix

$3.00 2.56 € Piano, Voix PDF SheetMusicPlus

Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por Bulerías) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetas”. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña” that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito” introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother” of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
Patios de Córdoba
Guitare

$3.99 3.41 € Guitare PDF SheetMusicPlus

Cello,Piano - Level 4 - Digital Download SKU: A0.1197751 By Gabriel Fauré, Yo Yo Ma and Kathryn Stott. By Gabriel Faure. Arranged by Flavio Regis Cunha. Classical,Contest,Festival,Film/TV,Instructional,Romantic Period. Score and part. 6 pages. Flavio Regis Cunha #796933. Published by Flavio Regis Cunha (A0.1197751). Après un rêve (Op. 7, No. 1) for cello and piano (as played by Yo Yo Ma and Kathryn StottTrois mélodies is a set of mélodies for solo voice and piano, by Gabriel Fauré. It consists of Après un rêve (Op. 7, No. 1), one of Faure's most popular vocal pieces, Hymne (Op. 7, No. 2), and Barcarolle (Op. 7, No. 3). The songs were written between 1870 and 1877, and published in 1878. They were not, however, originally conceived together as a set of three; the opus number 7 was imposed on them retrospectively in the 1890s, almost 20 years after their first publications.[citation needed]Après un rêveIn Après un rêve (After a dream), a dream of romantic flight with a lover, away from the earth and towards the light, is described. However, upon awakening, the dreamer longs to return to the mysterious night and the ecstatic falsehood of his dream. The text of the poem is an anonymous Italian poem freely adapted into French by Romain Bussine.Intermediate.Format: Concert, 9 x 12 inches.6 pages.
Après un rêve" (Op. 7, No. 1) for cello and piano (as played by Yo Yo Ma and Kathryn Stott
Violoncelle, Piano
Gabriel Fauré, Yo Yo Ma and Kathryn Stott
$7.99 6.82 € Violoncelle, Piano PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download SKU: A0.1300078 By Bee Gees. By Barry Gibb and Robin Gibb. Arranged by Timothy Stapay. Country,Disco,Film/TV,Rock,Singer/Songwriter. Score. 4 pages. Timothy Stapay #889845. Published by Timothy Stapay (A0.1300078). How Can You Mend a Broken Heart is a song released by the Bee Gees in 1971. It was written by Barry and Robin Gibb and was the first single on the group's 1971 album Trafalgar. It was their first US No. 1 single and also reached No. 1 in Cashbox magazine for two weeks.The Bee Gees were a musical group formed in 1958 by brothers Barry, Robin, and Maurice Gibb. The trio were especially successful in popular music in the late 1960s and early 1970s, and later as prominent performers in the disco music era in the mid- to late 1970s. The group sang recognisable three-part tight harmonies: Robin's clear vibrato lead vocals were a hallmark of their earlier hits, while Barry's R&B falsetto became their signature sound during the mid- to late 1970s and 1980s. The group wrote all their own original material, as well as writing and producing several major hits for other artists, and are regarded as one of the most important and influential acts in pop-music history. Bee Gees Lyrics:How Can You Mend A Broken Heart?I can think of younger days when living for my lifeWas everything a man could want to doI could never see tomorrowBut I was never told about the sorrowsAnd, how can you mend a broken heart?How can you stop the rain from falling down?How can you stop the sun from shining?What makes the world go 'round?How can you mend this broken man?How can a loser ever win?Please help me mend my broken heart and let me live againI can still feel the breeze that rustles through the treesAnd misty memories of days gone byWe could never see tomorrowNo one said a word about the sorrowAnd how can you mend a broken heart?How can you stop the rain from falling down?How can you stop the sun from shining?What makes the world go 'round?And how can you mend this broken man?How can a loser ever win?Please help me mend my broken heart and let me live againLa la la la la la, la la la laLa la la la la la, la la la laPlease help me mend my broken heart and let me live againDa da da daDa da da da, da da da da da, da.
How Can You Mend A Broken Heart
Piano seul
Bee Gees
$6.99 5.97 € Piano seul PDF SheetMusicPlus

Concert Band - Level 5 - Digital Download SKU: A0.912831 Composed by Alexis Emmanuel Chabrier. Arranged by Keith Otis Edwards. Classical,Contemporary,Romantic Period. Score and parts. 213 pages. Volitant Music #3497295. Published by Volitant Music (A0.912831). Emmanuel Chabrier (1841-1894) wrote this as a piece for piano (4-hands) in the 1880s after attending a performance of Tristan and Isolde in Munich. Chabrier had been moved to tears by Richard Wagner's romantic music drama, but when Chabrier returned home to Paris, he wrote this burlesque, a pastiche of the various themes from the opera. It was a curious thing to do, because instead of writing a tribute to Wagner's masterpiece, it was as if he instead squirted Wagner in the face with a seltzer bottle. Wagner's champion, Hans von BĂĽlow, became enraged when he heard Chabrier perform the parody, but Wikipedia reports that Francis Poulenc described Souvenirs de Munich as irresistibly funny, where Wagner's principal themes appear with false beards and fake moustaches.This arrangement for wind band is greatly simplified from the original piano piece to make it more playable. Still, bands will find it a challenge, although instrumentalists and audiences both are certain to enjoy this clever novelty from La Belle Ă?poque.
Souvenirs de Munich
Orchestre d'harmonie

$18.00 15.36 € Orchestre d'harmonie PDF SheetMusicPlus

Full Orchestra - Level 4 - Digital Download SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Austin Wintory (A0.1031686). EP!C!!! is an overture-sized orchestral work, originally commissioned by the West Michigan Symphony in 2016. It is intended as a higher energy opener or Act 1 closer. Program notes:Entirely by mistake, EP!C!!! is study in conflict. The piece began with a simple premise: compose a work which teases some of the pervasive clichĂ©s of today’s musical landscape (particularly the Hollywood or so-called media music scenes). Those clichĂ©s are primarily two gestures: 1) a progression of chords, often called the Chords of Destiny (consisting of i – VI – III – VIII) and 2) an endlessly repeating minor third ostinato.The conflict emerged internally when, after multiple false starts, I would quickly start to hate the piece because it felt like the clichĂ©s were being presented whole cloth, without the slightest sense of irony. I became deeply paranoid that the music wasn’t in on its own joke. When I would reverse course, it felt condescending, as though it were declaring from some erudite ivory tower that it was above those gestures. The trouble particularly with the latter is that clichĂ©s become so for a reason; something genuinely compelling becomes so ubiquitous that it loses some of the freshness, but that doesn’t erase what initially made it compelling. So the piece needed to somehow make fun of the fact that these gestures are clichĂ©, while not dismissing their intrinsic value. And indeed, to celebrate that value!It took a long time to find my place between those two extremes, and ultimately I think the music that emerged is actually the conflict itself manifest. The two gestures are this constant presence, almost like a seductive temptation, that are initially regarded as distractions, but eventually become the music’s core. It’s as though the music finally decided to just relent and find something to truly love and celebrate within these overwrought ideas, haters be damned.However, for the sake of total clarity of intention, I couldn’t resist some on-the-nose tongue-in-cheek. The little cameo of Haydn’s lulling 94th Symphony 2nd movement tune is my way of saying you think classical music is epic??? THEN LISTEN TO THIS SH*T!!! before inevitably popping open a Mountain Dew and snowboarding into an avalanche.- Austin Wintory, October 21, 2016
EP!C!!!
Orchestre

$40.00 34.14 € Orchestre PDF SheetMusicPlus


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