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Jazz Combo - Level 4 - Digital Download SKU: A0.970747 Composed by Mike Strand. Concert,Jazz. Score and parts. 3 pages. Michael M. Strand #5330633. Published by Michael M. Strand (A0.970747). By Mike Strand, ASCAP This is a lead sheet with lyrics, chords and guitar fret boards, for a jazz ensemble, large or small, with singer or solo instrument.  Thus, it is the basis for a variety of arrangements, contra facts, and improvisations. The audio sample is a jazz quartet:  An iReal Pro swing accompaniment combined with my tune from Finale PrintMusic.Wait It Out (Alternate Version), and Wait It Out (Rock Version) are also for sale on this web site.  The alternate version is also a swing -- same tune with different harmonization. The March 2020 Covid-19 influenza scare is the subject of Wait It Out.  The lyrics express an individual’s efforts to cope with being isolated, away from friends – social distancing to discourage the spread of the flu. I wrote this tune in the Locrian mode, which conveys a sad, surreal mood associated with self-isolation.  The coda brightens the mood with a change to Ionian (major) mode.Here are the lyrics:Wait It Out1.  I’m not having fun home alone. I’m chewing my nails to the bone. I don’t pretend to comprehend. I’ll just wait it out to the end. 2. Well, I just want to sit, drink and eat, But going on line is a treat. And I know this much, we’ll stay in touch! Waiting this out to the end. Coda Sending warm wishes to you, my friend! We’ll wait this thing out to the end!
Wait It Out (Swing)
Jazz combo
Mike Strand, ASCAP 

This is a lead sheet with lyrics, chords and guitar fret boards, for a jazz ensemble, large or small, with singer or solo instrument   Thus, it is the basis for a variety of arrangements, contra facts, and improvisations
$3.00 2.57 € Jazz combo PDF SheetMusicPlus

Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians.  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
2 Pianos, 4 mains
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians  The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking
$20.00 17.12 € 2 Pianos, 4 mains PDF SheetMusicPlus

C Instrument - Level 4 - Digital Download SKU: A0.1205933 By Barry Manilow. By Bruce Johnston. Arranged by John Fries. 20th Century,Pop,Standards. Lead Sheet / Fake Book. 2 pages. John Fries #804125. Published by John Fries (A0.1205933). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John.  I Write the Songs is a popular song written by Bruce Johnston in 1975 and released on his album Going Public in 1977. Barry Manilow's version reached number one on the Billboard Hot 100 chart in January 1976 after spending two weeks atop the Billboard adult contemporary chart in December 1975. It won a Grammy Award for Song of the Year and was nominated for Record of the Year in 1977. Johnston has stated that, for him, the I in the song is God. Manilow was initially reluctant to record the song, stating in his autobiography Sweet Life: The problem with the song was that if you didn't listen carefully to the lyric, you would think that the singer was singing about himself. It could be misinterpreted as a monumental ego trip.
I Write The Songs
Instruments en Do
Barry Manilow
$3.99 3.42 € Instruments en Do PDF SheetMusicPlus

Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015767 By Gloria Estefan. By John Frederick Coots. Standards. 6 pages. Alfred Music - Digital Sheet Music #00-PS-0015767. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0015767). ISBN 9781470610388. UPC: 038081471044. Sam M. Lewis.Few artists have turned out as many powerhouse albums as Gloria Estefan. With her newest release, The Standards, she has managed to capture the essence of some of the most popular and timeless songs and transform them into entirely new experiences. Now pianists can explore the rich harmonies in each original arrangement as performed by the artist. Titles: Call Me Irresponsible * Embraceable You * Eu Sei Que Vou Te Amar * For All We Know * Good Morning Heartache * How Long Has This Been Going On * I've Grown Accustomed to His Face * SonrAe * The Day You Say You Love Me * The Way You Look Tonight * They Can't Take That Away from Me * What a Difference a Day Makes * What a Wonderful World * You Made Me Love You * Young at Heart.
For All We Know
Piano, Voix et Guitare
Gloria Estefan
$3.99 3.42 € Piano, Voix et Guitare PDF SheetMusicPlus

Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.797778 Composed by Jack Marshall. Arranged by Derek Hasted. Contemporary,Film/TV. 17 pages. Derek Hasted #5770601. Published by Derek Hasted (A0.797778). The MUNSTERS Theme - GUITAR DUETFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes There are two arrangements in this single item...Beethoven it isn’t, but it’s a fun novelty item to play in a school concert or even an informal adult concert.This arrangement is based on one I wrote for my Guitar WorkshopThere are two versions of the piece in this file - they’re identical apart from who plays what whenVersion 1 is ideal for a Student/Teacher duet - the Teacher plays the bass part, and the student takes the tune (or vice-versa!)Version 2 is great for a performance at any level between two players with comparable tone and volume - the parts swap over when the music is repeated - you'll see the change at the point marked B in the scores.I’ve left the fingering for the players to decide - we all have different abilities and the choice about when to go up the neck is always going to be a personal one.I hope you enjoy playing this piece!
The Munsters Theme
2 Guitares (duo)

$4.99 4.27 € 2 Guitares (duo) PDF SheetMusicPlus

Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1022084 Composed by Bill Taylor music, Bill Taylor with Jaye Alison Moscariello, and Lyrics. Arranged by Bill Taylor. Broadway,Contemporary,Jazz. 3 pages. William R Taylor #6475595. Published by William R Taylor (A0.1022084). Release ©2006, lyrics©2010.  Bill’s mom Priscilla Alden Taylor (nee Rowe) passed on at age 90 in January, 2010.  This piece was one she loved, but the words did not come until 2 months after her death and 2 days before Jaye and I were to perform Mom’s song Every Time We Meet at the Anderson Valley Variety Show.  We sung it as best we could with so little practice time and in a key way too high.  This version is transposed down a fifth.  Listeners with parents who have gone on, and those who haven’t, may find some familiar themes here.  If inspired, support your local elder and/or hospice organizations. I love my children to be happy.  What’s new with you Mom?  Charlotte’s got a bakery. Hannah is teaching, playing in San Jose. Tom and Jeanne expecting, he’s flying a new plane. Lucy’s kids are doing well, I’m seeing Uncle Jay. My life is going on in a most pleasant way. When are you coming here to visit, it’s been way too long? When we were children everything was made into a song. Father’s jazzy flute, brother’s boogie woogie She left Julliard to help her family Factory in the war, music she wrote A job at Schirmers she met my Dad had 5 kids Trips to Vermont and Jersey and New York Kept house, school lunch, kind words, praising Now she is running and swimming Dancing and flying, she’s singing All new adventures, new worlds to learn and know Earth body left behind, all life is love and flow Walker made her so tired, shuffling oh so slow She learned to ask for help from all of us below Gathered her children all around her at her time to go Now she’s with her God.
Release
Voix Alto, Piano

$2.99 2.56 € Voix Alto, Piano PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.714305 Composed by John Stafford Smith. Arranged by Jeremy Corcoran. Concert,Graduation,Holiday,Patriotic,Standards. Score and parts. 28 pages. LPC Publishers #3210229. Published by LPC Publishers (A0.714305). An easy arrangement of the Star Spangled Banner, for all those times, teachers are asked (at the last minute) to perform for an assembly etc. Written as a standard scored Band piece, there are really only 4 parts going on. Clarinet 2 doesn't cross the break, and Trumpet 1 is always doubled by Clarinet 1 and the Flutes, on the higher notes. Also, if Trumpet 1 misses the high E and hits C or G instead, any of those notes fit the Chord. A win- win for the trumpets.
The Star Spangled Banner for Concert Band
Orchestre d'harmonie

$25.00 21.4 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 5 - Digital Download SKU: A0.995848 Composed by Andrew Strawn. 20th Century,Contemporary. Score and parts. 164 pages. Andrew Strawn #4629351. Published by Andrew Strawn (A0.995848). The Mad Adventurer is arguably one of my most monumental works. Comprising of three movements (listed in detail below) it depicts the stress of an Adventurer and his eventual insanity. Composed for Symphonic Band, I hope you enjoy, The Mad Adventurer.  I. Dangerous Waters The Great Adventurer has travelled for many years. He has fought in great battles and discovered beautiful treasures. It is for the immense joy he quests. The adventures continue to become more challenging, yet the Great Adventurer always succeeds.  II. The Tormented Heart Contrary to his fun from quests, the Adventurer now has a family back home, and he worries what would happen to them if he didn't return. His constant absence caused by his desire for adventure is straining the relationship with his family. He loves them but is always away from them. All the while, death looms above and threatens to end the adventures.  III.The Madman The stress and torment of his quests are finally getting to the Adventurer. His emotions are becoming out of control and his mind, irrational. The Adventurer realizes he must return to his family to save his sanity, if not his life. He sets out on one final quest to return home. The trials more mounting than ever before. The once, Great Adventurer is going insane. Until, finally, he crests the hill, and reunites with his family. In the joyful arms of his wife and kids, he is once again, happy.Note: PDF includes a legal-sized score and a letter-sized set of parts.
The Mad Adventurer
Orchestre d'harmonie

$55.00 47.08 € Orchestre d'harmonie PDF SheetMusicPlus

Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
Wind Quintet - One Rule
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor

$35.00 29.96 € Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor PDF SheetMusicPlus

Concert Band - Digital Download SKU: AX.00-PC-0017527_PC3 3rd Percussion. Composed by Roland Barrett. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017527_PC3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017527_PC3). UPC: 038081507781.Based on material borrowed from two English folk songs that were popular in the Southern Appalachians during the early years of American history---Going to Boston and Soldier, Won't You Marry Me?. After a very peaceful and tranquil opening, a bold, powerful statement leads to a dreamlike, mesmerizing section. With a powerful percussion contribution, the driving conclusion resounds. An epic work, this is a striking addition to symphonic band literature. (4:45)Concert/Contest; Festival.
Appalachian Dreams: 3rd Percussion
Orchestre d'harmonie

$3.00 2.57 € Orchestre d'harmonie PDF SheetMusicPlus

Choral Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801565 Composed by Connie Boss. A Cappella,Celtic,Christmas,Irish,Sacred. Score. 4 pages. Connie Boss #6202113. Published by Connie Boss (A0.801565). This 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. 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 - Women's quartet A cappella

$5.50 4.71 € PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download SKU: A0.828225 Composed by Southern Harmony. Arranged by Paul Thurmond. Christian,Gospel,Jazz,Sacred. Score. 3 pages. Paul Thurmond #4968921. Published by Paul Thurmond (A0.828225). Tune: RESIGNATIONUse: Prelude, Offertory, PostludeA couple of years ago I read an interview with director Ridley Scott about his first commercially successful film, Alien. It’s a terrific science fiction/horror movie set on a large spaceship, with a predatory creature who is hunting down the human crew one by one. In the interview, Scott talked about the fact that there were scenes he wanted to film and effects he wanted to use, but his small budget prevented him from doing so. Instead, he was forced to make do with limited time and materials. Alien became a hit, and Scott went on to direct blockbusters like Gladiator and Hannibal.What stuck with me was what Scott said about creativity. It is his opinion that the budgetary constraints under which he operated when making Alien forced him to explore ideas and methods he wouldn’t have otherwise considered. Even though he would later make movies with ten times the budget, he’s extremely proud of what he and his team did with far more limited resources.When I started writing My Shepherd Will Supply My Need, I decided to give myself a big constraint: I would only be allowed to use the white keys of the piano. This is very different for me; I usually throw in some juicy harmonies. It was an interesting process, and I have to say that I agree with Ridley Scott: limits spark creativity. I’m going to look for other ways to apply this principle.I did go over budget slightly, and used one black key. Every flock has its black sheep, right?
My Shepherd Will Supply My Need
Piano seul

$4.99 4.27 € Piano seul PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.1025077 Composed by Aric Noble. Contemporary,Folk. Score and parts. 10 pages. Aric Noble #5306619. Published by Aric Noble (A0.1025077). Over the past few years I have become obsessed with Norse Mythology, and I mean real Norse Mythology. I say that withquotes because in my research I realized that a lot of people tell different stories. This is mainly because back when Christianity was growing,the Christians saw anything that wasn't Christian as pagan, so they got rid of it all. So that is why Greek, Roman, and Norse religions faded into mythologies, and all that was left was passed around in folk tales. And also because Marvel tells a very different tale of the mythology than the research I have collected and I want people to know these stories. Now moving passed the history lesson and into the music. This is interesting for me because this is the biggest original piece that I've ever made. This is going to be a multimovement piece, and this is the 1st movement, Ginnungagap, the endless void. This movement describes The Void, and the two lands of Fire(Muspelheim) and Ice(Niflhiem).Starting with The Void, it describes the blackness, and I use the absence of instruments to give this feeling, but however to give2 of the other themes to foreshadow it.  It moves into this wild cascading theme for the Niflheim theme to describe the cold cascading environment of the world.After that it slows into a dark and ominous theme for Muspelheim(Surtr's Destiny). This was an interesting part to make because in mythology, Surtr, also referred to as Surt,  is the fabled fire giant who destroys Asgard. No one knows where hecomes from, but from the moment of his creation, he knew of his destiny to destroy Asgard so he spent all of his time forging his sword to burrow into Asgard.  I used a break drum to symbolize a hammer hitting an anvil to forge a sword, a lingering sound of Surtr's destiny.After this, I brought both themes together to resemble The Clash of the two worlds to create the Norse universe.The final theme in this first movement is entitled I am Ymir. In myhtology, Ymir is the father of everything. Created from the clash, he gave creation to all the gods, humans, giants, elves, and dwarves. This final theme takes Surtr's theme and flipsit to be mo.
Nordic Movement 1: Ginnungagap
Orchestre d'harmonie

$24.99 21.39 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Digital Download SKU: AX.00-PC-0017527_C2 2nd B-flat Clarinet. Composed by Roland Barrett. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017527_C2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017527_C2). UPC: 038081507781.Based on material borrowed from two English folk songs that were popular in the Southern Appalachians during the early years of American history---Going to Boston and Soldier, Won't You Marry Me?. After a very peaceful and tranquil opening, a bold, powerful statement leads to a dreamlike, mesmerizing section. With a powerful percussion contribution, the driving conclusion resounds. An epic work, this is a striking addition to symphonic band literature. (4:45)Concert/Contest; Festival.
Appalachian Dreams: 2nd B-flat Clarinet
Orchestre d'harmonie

$3.00 2.57 € Orchestre d'harmonie PDF SheetMusicPlus


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