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--INSTRUMENTS--
ACCORDEON
ALTO
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Robert E
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32
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27
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2
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2
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1
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51
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32
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
35.91 €
$38.95
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
35.91 €
$38.95
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Clarinet 1
Clarinette (partie séparée)
Level 4 - Digital Download SKU: HX.420975 Composed by Karl Jenkins. Arranged by Rob…
(+)
Level 4 - Digital Download SKU: HX.420975 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.420975).
5.53 €
$6.00
#
Clarinette (partie séparée)
#
Karl Jenkins
#
Robert Longfield
#
The Armed Man
#
Hal Leonard - Digital
#
SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Percussion 1
Percussion (partie séparée)
Level 4 - Digital Download SKU: HX.420994 Composed by Karl Jenkins. Arranged by Rob…
(+)
Level 4 - Digital Download SKU: HX.420994 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.420994).
5.53 €
$6.00
#
Percussion (partie séparée)
#
Karl Jenkins
#
Robert Longfield
#
The Armed Man
#
Hal Leonard - Digital
#
SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Percussion 3
Percussion (partie séparée)
Level 4 - Digital Download SKU: HX.421016 Composed by Karl Jenkins. Arranged by Rob…
(+)
Level 4 - Digital Download SKU: HX.421016 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.421016).
5.53 €
$6.00
#
Percussion (partie séparée)
#
Karl Jenkins
#
Robert Longfield
#
The Armed Man
#
Hal Leonard - Digital
#
SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Clarinet 3
Clarinette (partie séparée)
Level 4 - Digital Download SKU: HX.420977 Composed by Karl Jenkins. Arranged by Rob…
(+)
Level 4 - Digital Download SKU: HX.420977 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.420977).
5.53 €
$6.00
#
Clarinette (partie séparée)
#
Karl Jenkins
#
Robert Longfield
#
The Armed Man
#
Hal Leonard - Digital
#
SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Trombone 1
Trombone (partie séparée)
Level 4 - Digital Download SKU: HX.420988 Composed by Karl Jenkins. Arranged by Rob…
(+)
Level 4 - Digital Download SKU: HX.420988 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.420988).
5.53 €
$6.00
#
Trombone (partie séparée)
#
Karl Jenkins
#
Robert Longfield
#
The Armed Man
#
Hal Leonard - Digital
#
SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - F Horn 1
Cor (partie séparée)
Level 4 - Digital Download SKU: HX.420986 Composed by Karl Jenkins. Arranged by Rob…
(+)
Level 4 - Digital Download SKU: HX.420986 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.420986).
5.53 €
$6.00
#
Cor (partie séparée)
#
Karl Jenkins
#
Robert Longfield
#
The Armed Man
#
Hal Leonard - Digital
#
SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Trumpet 1
Trompette (partie séparée)
Level 4 - Digital Download SKU: HX.420983 Composed by Karl Jenkins. Arranged by Rob…
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Level 4 - Digital Download SKU: HX.420983 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.420983).
5.53 €
$6.00
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Trompette (partie séparée)
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Karl Jenkins
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Robert Longfield
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The Armed Man
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Hal Leonard - Digital
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SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Percussion 2
Percussion (partie séparée)
Level 4 - Digital Download SKU: HX.421015 Composed by Karl Jenkins. Arranged by Rob…
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Level 4 - Digital Download SKU: HX.421015 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.421015).
5.53 €
$6.00
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Percussion (partie séparée)
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Karl Jenkins
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Robert Longfield
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The Armed Man
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Hal Leonard - Digital
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SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - F Horn 2
Cor (partie séparée)
Level 4 - Digital Download SKU: HX.420987 Composed by Karl Jenkins. Arranged by Rob…
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Level 4 - Digital Download SKU: HX.420987 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.420987).
5.53 €
$6.00
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Cor (partie séparée)
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Karl Jenkins
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Robert Longfield
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The Armed Man
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Hal Leonard - Digital
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SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Clarinet 2
Clarinette (partie séparée)
Level 4 - Digital Download SKU: HX.420976 Composed by Karl Jenkins. Arranged by Rob…
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Level 4 - Digital Download SKU: HX.420976 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.420976).
5.53 €
$6.00
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Clarinette (partie séparée)
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Karl Jenkins
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Robert Longfield
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The Armed Man
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Hal Leonard - Digital
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SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Trombone 2
Trombone (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455105 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455105 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455105).
5.53 €
$6.00
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Trombone (partie séparée)
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Ludwig van Beethoven
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Robert Longfield
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Finale from Symphony No. 5
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Hal Leonard - Digital
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SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Bb Trumpet 2
Trompette (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455100 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455100 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455100).
5.53 €
$6.00
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Trompette (partie séparée)
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Ludwig van Beethoven
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Robert Longfield
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Finale from Symphony No. 5
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Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Flute 2
Flute (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455088 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455088 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455088).
5.53 €
$6.00
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Flute (partie séparée)
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Ludwig van Beethoven
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Robert Longfield
#
Finale from Symphony No. 5
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Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Bb Clarinet 3
Clarinette (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455093 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455093 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455093).
5.53 €
$6.00
#
Clarinette (partie séparée)
#
Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Trombone 3
Trombone (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455106 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455106 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 2 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455106).
5.53 €
$6.00
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Trombone (partie séparée)
#
Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Timpani
Timbales (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455121 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455121 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455121).
5.53 €
$6.00
#
Timbales (partie séparée)
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Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - F Horn 2
Cor (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455103 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455103 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455103).
5.53 €
$6.00
#
Cor (partie séparée)
#
Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Flute 1
Flute (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455087 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455087 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455087).
5.53 €
$6.00
#
Flute (partie séparée)
#
Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Piccolo
Flute (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455118 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455118 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455118).
5.53 €
$6.00
#
Flute (partie séparée)
#
Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Bb Clarinet 1
Clarinette (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455091 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455091 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455091).
5.53 €
$6.00
#
Clarinette (partie séparée)
#
Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Bb Trumpet 3
Trompette (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455101 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455101 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455101).
5.53 €
$6.00
#
Trompette (partie séparée)
#
Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Bassoon
Basson (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455090 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455090 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455090).
5.53 €
$6.00
#
Basson (partie séparée)
#
Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
Finale from Symphony No. 5 (arr. Robert Longfield) - Bb Clarinet 2
Clarinette (partie séparée)
Concert Band - Level 4 - Digital Download SKU: HX.455092 Composed by Ludwig van Bee…
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Concert Band - Level 4 - Digital Download SKU: HX.455092 Composed by Ludwig van Beethoven. Arranged by Robert Longfield. This edition: scorch. Classical. 3 pages. Duration 290. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.455092).
5.53 €
$6.00
#
Clarinette (partie séparée)
#
Ludwig van Beethoven
#
Robert Longfield
#
Finale from Symphony No. 5
#
Hal Leonard - Digital
#
SheetMusicPlus
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