EUROPE
1674 articles
USA
2179 articles
DIGITAL
1223 articles (à imprimer)
Partitions Digitales
Partitions à imprimer
1223 partitions trouvées

1 ....61 76 91 106 121 ....1216

Piano Solo - Level 4 - Digital Download SKU: A0.1458082 Composed by Al (dp) Dubin, Andrea Martin, Gregory Darryl Smith, and Harry Warren. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 6 pages. Timothy Stapay #1037052. Published by Timothy Stapay (A0.1458082). I Only Have Eyes For You is a romantic love song by composer Harry Warren and lyricist Al Dubins; here arranged for piano solo and as a tribute to my favorite actress, Bette Davis.  Who can ever forget those fabulous eyes.  A recording of the song by Art Garfunkel was a number-one hit on the UK Singles Chart in October 1975 for two weeks.  In the US, the song reached number 18 on the U.S. Billboard Hot 100.Lyrics:My love must be a kind of blind loveI can't see anyone but youAnd dear, I wonder if you find loveAn optical illusion, too?Are the stars out tonight?I don't know if it's cloudy or bright'Cause I only have eyes for you, dearThe moon may be highBut I can't see a thing in the sky'Cause I only have eyes for youI don't know if we're in a gardenOr on a crowded avenueYou are here, so am IMaybe millions of people go byBut they all disappear from viewAnd I only have eyes for you.
I Only Have Eyes For You
Piano seul

$7.99 6.91 € Piano seul PDF SheetMusicPlus

Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.746865 Composed by Bob Russell and Duke Ellington. Arranged by Music for all Occasions. Jazz,Standards. 8 pages. Keith Terrett #4784411. Published by Keith Terrett (A0.746865). Arranged for Clarinet Quintet Don't Get Around Much Anymore is a jazz standard written by composer Duke Ellington.The song was originally entitled Never No Lament and was first recorded by Duke Ellington and his orchestra on May 4, 1940.  Don't Get Around Much Anymore quickly became a hit after Bob Russell wrote its lyrics in 1942.Two different recordings of Don't Get Around Much Anymore, one by The Ink Spots and the other by Ellington's own band, reached No. 1 on the R&B chart in the US in 1943. Both were top-ten pop records, along with a version by Glen Gray. The Duke Ellington version reached No. 8 on the pop chart.For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast?  They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.    
Don't Get Around Much Anymore

$14.99 12.96 € PDF SheetMusicPlus

Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.853705 Composed by Richard Rodgers. Arranged by Larry Wright. A Cappella,Barbershop. Octavo. 3 pages. Larry Wright #4569739. Published by Larry Wright (A0.853705). A WOMEN'S 4-part, a cappela, barbershop arrangement of this well-known, medium tempo'd Rodgers and Hammerstein hit song from the Broadway Musical The King And I,... recorded by Julie Andrews and a host of others; possibly contestable for SAI,... definitely for HI.Quartets and choruses singing at a B- contest level should be able to successfully learn and perform this arrangement making good use of the available excellent  part-predominant vocal Learning Trax <www.larrywrightmusic.com>. If you've FIRST purchased the learning trax from my website store... and the per-copy price for the sheet music on the SMP website store is anything more than $1.89, DON'T PAY IT!!! Email me <larry@larrywrightmusic.com> for assistance. NOTE: SMP requires a minimum purchase of 10 copies for all choral selections. Sorry quartets!
Getting To Know You
Chorale SSAA

$15.00 12.97 € Chorale SSAA PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1504962 Composed by Bernard Webb and Paul James Mccartney. Arranged by Halfway House. 20th Century,Pop,Rock,Singer/Songwriter. Score. 4 pages. Halfway House #1080365. Published by Halfway House (A0.1504962). This is a PVG (piano, vocal, guitar) arrangement of a lesser-known Paul McCartney song from 1966, written for Peter and Gordon during the Beatles' peak.McCartney had penned three previous Peter and Gordon singles (“A World Without Love”, “Nobody I Know”, and “I Don't Want to See You Again”), and he wrote this song to test whether one of his compositions could be successful based on its own merits without being associated with the hit-making Lennon-McCartney songwriting team.
Woman
Piano, Voix et Guitare

$5.99 5.18 € Piano, Voix et Guitare PDF SheetMusicPlus

Small Ensemble Cello,Guitar,Voice - Level 3 - Digital Download SKU: A0.576653 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 10 pages. David Warin Solomons #51133. Published by David Warin Solomons (A0.576653). Very sad poem by Paul Maertens about a child he came to know from his medical practice. The mother was unmarried and ashamed and tried to ignore the child as if it were a reproach to her, the child became autistic and unable to react to others.  This setting for alto voice, cello and guitar reflect the mood of the poem in all its sadness.  The sound sample is a performance by the composer, with Chris Benson on cello.  (The guitar's 6th string is tuned to D - much use is made of 12th and 19th (or 7th if preferred) fret harmonics)  The pdf file contains score and parts.  An instrumental version of the the music, entitled Promenade d'hiver (viola, cello and guitar), is also available on this site. It is sung in French, but for convenience I am providing an English translation below (not for performance purposes).  Ta Maman, p'tit gars, ne te désirait pas.Maintenant tu ouvres les robinets, et vois l'eau couler sans vouloir la saisir.Ta Maman a nié son attente. Ton Papa n'est pas tien, et ta Maman, de honte, t'a caché dans ses seins. Tu naissais sans qu'on te donne la vie. Tu étais dorloté, car il ne fallait pas qu'on t'entende, mon gars. Ta Maman ne te regardait pas dans les yeux; tes sourires n'ont pas eu de réponse. On ne t'a pas aimé.On t'a interdit la vie. Ta Maman ne pouvait soutenir ce reproche que tes yeux lui lançait; et pour mieux te fuir elle fit de toi cet objet cet oubli, un chien propre et fidèle qu'on lave, qu'on nourrit. Maintenant tu te promènes une auto à la main, sans jouer sans sourire sans parler. Ta Maman est partie, et tu n'as pas pleuré; tu as laissé ton auto quelque part, et tu ranges les cubes étalés devant toi: toujours dans le même ordre, simplement, sans angoisse, sans bonheur. Tu ne vis pas, p'tit. Réveille-toi, mon gars!  Your mummy, little chap, did not want you. Now you turn on the taps and watch the water flow, but you don't want to grab it. Your mummy didn't admit she was expecting. Your daddy isn't yours and your mummy, out of shame, hid you in her breasts. You were born but you weren't given a life. You were rocked to sleep because you weren't supposed to be heard. Your mummy didn't look into your eyes, your smiles got no response. You weren't loved. You were forbidden to live. Your mummy could not bear the reproach your eyes shot at her, and in order to flee you all the more she made you into this object, this forgotten thing, a clean and faithful dog that you wash and feed. Now you roll your toy car around, without playing or smiling or speaking. Your mummy has gone and you didn't cry. You've left your car somewhere and you arrange the cubes in front of you, always in the same order, simply, without anguish, without happiness. You are not living , little one. Wake up little chap!
Ta Maman for alto, cello and guitar

$10.00 8.64 € 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 3.45 € Chorale TTBB PDF SheetMusicPlus

Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.746864 Composed by Bob Russell and Duke Ellington. Arranged by Keith Terrett. Jazz. 8 pages. Keith Terrett #4784301. Published by Keith Terrett (A0.746864). Arranged for Saxophone Quintet, Don't Get Around Much Anymore is a jazz standard written by composer Duke Ellington. The song was originally entitled Never No Lament and was first recorded by Duke Ellington and his orchestra on May 4, 1940.  Don't Get Around Much Anymore quickly became a hit after Bob Russell wrote its lyrics in 1942.Two different recordings of Don't Get Around Much Anymore, one by The Ink Spots and the other by Ellington's own band, reached No. 1 on the R&B chart in the US in 1943. Both were top-ten pop records, along with a version by Glen Gray. The Duke Ellington version reached No. 8 on the pop chart.For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast?  They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.    
Don't Get Around Much Anymore
Quintette de Saxophone: 5 saxophones

$14.99 12.96 € Quintette de Saxophone: 5 saxophones PDF SheetMusicPlus

Piano - Level 1 - Digital Download SKU: A0.1328957 Composed by Fred E. Ahlert and Roy Turk. Arranged by DecPlay Ltd. Contemporary,Jazz,Pop,Standards. DecPlay Piano. 3 pages. DecPlay Ltd #916968. Published by DecPlay Ltd (A0.1328957). You have great taste - this is a great song! If you’re not a DecPlay student yet, you might be wondering why the song sheet isn’t using traditional notation or chord names …..This patented form of song sheet from DecPlay® enables songs to be learnt much quicker and more easily than using traditional notation or guitar chords. The simple numbers, colours and patterns method enables rapid results on piano.The same song sheet enables beginner and advanced playing styles, in any musical key.For more details and a FREE video lesson go to https://decplay.com(This type of sheet music is known as piano tabs or PianoTabz and includes lyrics, melody and chords).
I Don't Know Why (i Just Do)
Piano Facile

$3.99 3.45 € Piano Facile PDF SheetMusicPlus

Cello,Piano - Level 3 - Digital Download SKU: A0.1252822 By Maria Thompson Corley. By Maria Thompson Corley. Arranged by Maria Thompson Corley. 21st Century,Sacred. Score and part. 9 pages. Maria Thompson Corley #846622. Published by Maria Thompson Corley (A0.1252822). “Pax Aeternam†was written in memory of renowned composer Barbara York, a fellow Canadian whom I was blessed enough to meet in person through my interaction with Matt Brown. Though we connected many years into my collaborative piano career, Matt is the first tubist I ever worked with, and Barbara’s music was my favorite part of getting introduced to the tuba literature. I was thrilled to learn how much she appreciated my playing of her work.“How Beautiful†was written in memory of Matt’s son Eli, who had a congenital condition that took his life a few hours after he was born. This flawless piece of music, poignant yet never maudlin, provided the title for a recording Matt and I did of all of Barbara’s tuba output. It also threw down the gauntlet when Danny Rowland approached me, at Matt’s suggestion, about composing a piece. Danny mentioned loving “How Beautiful,†and intending to commission Barbara, who’d recently passed on. I’d never written for the tuba before, but felt absolutely no pressure. That’s a lie.Like “How Beautiful,†“Pax Aeternam†is in a major key; in my case, I wanted to evoke wistfulness rather than despair. Barbara’s path was full of suffering, and having lost a brother to prolonged illness, I’ve come to embrace the idea that death can be a sweet relief from pain. I tried to capture some of Barbara’s spirit, particularly in the middle section, and chose triple meter to give the outer sections a bit of “swing.†I don’t recall Barbara as a somber person, and I wanted to paint a portrait of someone who moved through life with a smile. I didn’t know her as well as many, but I always found her kind, generous, and unpretentious. I hope that this musical portrait does her justice.I created a cello transcription for a performance with Sara Male, my partner in Duo Chiaroscuro. This seemed appropriate, since “Still Waters Running Deep,†one of our signature pieces, is a transcription of the slow movement of Barbara’s bassoon sonata, created at our request by the composer.
Pax Aeternam for cello and piano
Violoncelle, Piano
Maria Thompson Corley
$15.00 12.97 € Violoncelle, Piano PDF SheetMusicPlus

Small Ensemble Bass Voice,Piano,Tenor Voice - Level 2 - Digital Download SKU: A0.801045 Composed by Connie Boss. Easter,Sacred. Score and parts. 4 pages. Connie Boss #4285309. Published by Connie Boss (A0.801045). A song for Good Friday. I have one out there in treble clef. This one is in bass clef for men to sing it. It has piano accompaniment and guitar chords as well as written in duet. The ending is unique (my mp3 doesn't show it because I couldn't get it to play it right) but after Pound # 11 I'm no longer breathin', it ends in complete silence at that point.The attached video is in SA and cello. Questions or requests, email cdboss@cvalley.netLyrics:Refrain: How can it be, the pain that I feel, pounding through my hands be from the hammer and the nail? When as a child, so young, but aware, I watched Joseph use the hammer and the nail. To create things that were so beautiful. How can this pain be from the hammer and the nail? Verse Pound #1 What have I done Pound #2 They know not what they do Pound #3 I’m shaking in my knees Pound #4 Leads to many more Refrain: Verse Pound #5 I’m barely alive Pound #6 They poke me with a stick Pound #7 Soon I’ll be in heaven Pound #8 I’m feeling faint Refrain: Pound #9 I’m dying inside Pound #10 Father please forgive them Pound #11 I’m no longer breathin’.
The Hammer and the Nail - in bass clef - A Good Friday Song

$5.50 4.75 € PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1331928 Composed by German Carol - Unknown. Arranged by Connie Boss. Children,Christmas. Score. 2 pages. Connie Boss #918699. Published by Connie Boss (A0.1331928). O Christmas tree wasn't originally written for Christmas so the lyrics don't really reflect Christmas. I have changed lyrics to going out and picking out the tree, taking it home and putting decorations on it. I kept in the lyrics O Christmas Tree. This key is in G and is intended for children or soprano voices. The melody is the same except for the intro and ending.Questions or requests email cdboss@cvalley.netLyrics:Verse 1O Christmas tree, O Christmas treeWe’re searching in the coldO Christmas tree, O Christmas treeYou’re beauty to beholdWe’re looking for the perfect oneOnce we find you our search is doneO Christmas tree, O Christmas treeWe’re searching in the cold Verse 2:O Christmas tree, O Christmas treeYou’re perfect and so tallO Christmas tree, O Christmas treeWe’ll place you in the hallThe ornaments we will findAnd the lights we will unwindO Christmas tree, O Christmas treeYou’re perfect and so tall Verse 3:O Christmas tree, O Christmas treeThe ornaments all sparkleO Christmas tree, O Christmas treeThe colored lights all twinkleThe tree is bright and we can seeChristmas presents underneathO Christmas tree, O Christmas treeThe ornaments all sparkle Verse 4:O Christmas tree, O Christmas treeNow it’s Christmas morningO Christmas tree, O Christmas treeThe children now are waking  They unwrap each presentThis is what dear Santa sentO Christmas tree, O Christmas treeNow it’s Christmas morning Outro:O Christmas tree, O Christmas treeYou are so lovely.
O Christmas Tree child or soprano solo and piano
Piano, Voix et Guitare

$5.50 4.75 € Piano, Voix et Guitare PDF SheetMusicPlus


1 ....61 76 91 106 121 ....1216




Partitions Gratuites
Acheter des Partitions Musicales
Acheter des Partitions Digitales à Imprimer
Acheter des Instruments de Musique

© 2000 - 2025

Accueil - Version intégrale