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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
In Laude
Non classifié
380
Piano & claviers
Piano, Voix
275
Piano seul
240
Piano Facile
90
Piano, Voix et Guitare
28
Orgue
15
Instruments en Do
12
Piano grosses notes
6
Piano Trio: piano, violon, violoncelle
5
Accordéon
4
Piano Quintette: piano, 2 violons, alto, violoncelle
3
2 Pianos, 4 mains
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Accordéon et Orchestre
1
1 Piano, 4 mains
1
+ 9 instrumentations
Retracter
Guitares
Guitare notes et tablatures
17
Guitare
12
2 Guitares (duo)
5
Ligne De Mélodie, (Paroles) et Accords
5
Guitare, Violon, Violoncelle (trio)
2
4 Guitares (Quatuor)
2
Piano, Guitare (duo)
2
Ukulele
1
2 Ukuleles
1
Guitare (partie séparée)
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
46
Voix Alto, Piano
9
Chorale 2 parties
8
Chorale TTBB
6
Chorale SSAA
5
Chorale 3 parties
3
Chorale
2
Chorale Unison
2
Voix basse, Piano
1
Voix duo
1
Chorale SSAATTBB
1
Voix haute
1
Voix duo, Piano
1
+ 8 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
92
Quintette de Saxophone: 5 saxophones
59
Flûte traversière et Piano
56
Quatuor de Saxophones: 4 saxophones
42
Clarinette et Piano
35
Clarinette
32
2 Saxophones (duo)
30
Saxophone Alto et Piano
30
Saxophone (partie séparée)
27
Hautbois, Piano (duo)
26
Flûte, Hautbois, Clarinette, Basson
23
Flûte traversière
23
Saxophone Alto
21
Saxophone Tenor et Piano
20
Quatuor de Clarinettes: 4 clarinettes
18
Saxophone Tenor
17
Saxophone Soprano et Piano
17
Hautbois (partie séparée)
17
Saxophone Baryton, Piano
15
2 Flûtes traversières (duo)
12
Ensemble de Clarinettes
11
Quatuor de Flûtes : 4 flûtes
10
Cor anglais, Piano
10
Saxophone, Clarinette (duo)
8
Flûte, Clarinette (duo)
8
Clarinette Basse, Piano
7
Quintette de Clarinettes: 5 clarinettes
7
Clarinette, Violon (duo)
6
2 Hautbois (duo)
6
Clarinette (partie séparée)
5
2 Clarinettes (duo)
5
Quintette de Flûte : 5 flûtes
5
Quatuor de Flûtes à bec
5
Flûte à bec Tenor
4
Clarinette, Guitare (duo)
4
Flûte à bec Alto
3
Flûte à bec Soprano
3
Saxophone Soprano
3
Hautbois, Basson (duo)
3
Flûte à bec Soprano, Piano
3
Clarinette et Alto
3
Flûte, Saxophone (duo)
3
Flute (partie séparée)
2
Hautbois, Flûte
2
Hautbois, Clarinette (duo)
2
Flûte à Bec
2
Flûte, Trompette (duo)
2
Hautbois
2
Flûte, Violon
2
Ensemble de saxophones
2
Clarinette, Basson (duo)
2
Flûte et Guitare
2
Flûte, Hautbois (duo)
2
3 Clarinettes (trio)
2
Flûte, Alto (duo)
1
Clarinette, Violoncelle (duo)
1
3 Saxophones (trio)
1
Ensemble de Flûtes
1
Saxophone et Guitare
1
Flûte, Clarinette et Basson
1
Clarinette, Harpe (duo)
1
Flûte, Violon, Piano
1
4 Hautbois
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Cor anglais et Harpe (duo)
1
Flûte à bec, Harpe
1
Trio de Flûtes: 3 flûtes
1
Cor anglais, Guitare (duo)
1
2 Clarinettes, Piano
1
Piccolo, Piano
1
Flûte, Alto et Violoncelle
1
Clarinette Basse
1
Clarinette, Trompette (duo)
1
Saxophone Baryton
1
Clarinette, Trombone (duo)
1
+ 70 instrumentations
Retracter
Cuivres
Trompette
35
Quatuor de Cuivres : 2 trompettes, trombone, tuba
33
Trompette, Piano
25
Trombone et Piano
24
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
24
Trombone
19
Cor et Piano
18
Cor
17
Tuba et Piano
14
Tuba
13
Cor anglais, Piano
10
Euphonium, Piano (duo)
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
8
Trompette, Saxophone (duo)
6
2 Trompettes (duo)
5
2 Trombones (duo)
5
Ensemble de Trombones
4
Tuba (partie séparée)
3
Trombone (partie séparée)
3
Euphonium
3
Trompette, Trombone (duo)
3
Quatuor de cuivres: 4 cors
3
4 Tubas
2
Trombone, Cor (duo)
2
Quatuor de cuivres: 4 trombones
2
Trompette, Cor (duo)
2
Ensemble de Trompettes
2
2 Cors (duo)
2
Cor (partie séparée)
1
Quatuor de cuivres: 4 trompettes
1
2 Tubas (duo)
1
Quatuor de Cuivres
1
Trompette (partie séparée)
1
Cor anglais et Harpe (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
Cor anglais, Guitare (duo)
1
2 Euphoniums et 2 Tubas
1
Bass Clef Instruments
1
+ 33 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
58
Violon et Piano
57
Violoncelle, Piano
38
Violon
26
Alto, Piano
25
Violoncelle
22
Quintette à cordes: 2 violons, alto, violoncelle, basse
14
Alto seul
13
Violon, Violoncelle (duo)
12
Contrebasse, Piano (duo)
9
Contre Basse
7
2 Altos (duo)
7
2 Violoncelles (duo)
7
Violon, Guitare (duo)
6
Violon, Alto (duo)
6
2 Violons (duo)
6
Trio à Cordes: violon, alto, violoncelle
5
Ensemble de Violons
4
Ensemble d'Altos
4
Harpe
4
Alto, Violoncelle (duo)
4
Harpe, Flûte (duo)
2
2 Violons, Piano
2
Quatuor à cordes: 4 violons
2
Alto (partie séparée)
1
2 Contrebasses (duo)
1
Piano Trio: Violon, Alto, Piano
1
2 Altos, Piano
1
Alto, Guitare (duo)
1
Harpe, Violon (duo)
1
Harpe, Violoncelle (duo)
1
Alto et Harpe
1
Violoncelle , Guitare (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
+ 29 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
74
Orchestre
43
Orchestre à Cordes
22
Orchestre de chambre
14
Ensemble de cuivres
12
Ensemble Jazz
9
Ensemble de Percussions
3
Fanfare
3
Cloches
3
Percussion (partie séparée)
2
Timbales (partie séparée)
1
Jazz combo
1
Orchestre, Violon
1
+ 8 instrumentations
Retracter
Autres
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Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
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CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
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CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
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ORGUE
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PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
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ORGUE
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LATIN - BOSSA - WORL…
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MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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Vous avez sélectionné:
In Laude
Partitions à imprimer
2 863 partitions trouvées
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In Laude
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.936160 Composed by Giusepp…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.936160 Composed by Giuseppe Di Bianco. A Cappella,Contemporary,Sacred,Standards. Octavo. 11 pages. Giuseppe Di Bianco #5302449. Published by Giuseppe Di Bianco (A0.936160). SATB, divisi, a cappella. Performance time: 4.00' ca.The interpretation of Psalm 150 offers a series of affective attitudes, giving words maximum strength and communicativeness. From beginning to end In Laude offers a resounding ascription of praise. The Laus Deo takes shape, section after section, in peremptory trumpet blasts, in the delicate pizzicato on the psaltery strings, in the rhythm of the timpani rather than in majestic immobility of the strings, up to the sumptuous sounds of the organ, in the finale.Performance Time: 3:33More Links:https://www.giuseppedibianco.com/
$3.20
2.95 €
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Chorale SATB
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Giuseppe Di Bianco
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In Laude
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Giuseppe Di Bianco
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SheetMusicPlus
Laude Cortonese
Male choir - intermediate to advanced - Digital Download SKU: S9.Q19070 For male…
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Male choir - intermediate to advanced - Digital Download SKU: S9.Q19070 For male choir. Composed by Gavin Bryars. This edition: choral score. Choral Music of Our Time. Downloadable, Choral score. Op. 5. Duration 8 minutes. Schott Music - Digital #Q19070. Published by Schott Music - Digital (S9.Q19070). Italian.My collection of laude has its origins in the world of early music, being based in spirit and feeling on the unaccompanied vocal “laude†found in a collection from 13th century Cortona. The people who originally sang such things - the ‘laudesi’ - banded together in confraternities but were not usually associated with any particular church and this music was not part of any liturgy. The first laude that I wrote were, like the mediaeval originals, for unaccompanied voice - for the soprano Anna Maria Friman. I then wrote some for two voices, adding the tenor John Potter, and some for three sopranos, the Trio Mediaeval. Gradually I added more for other vocal combinations as well as some with instrumental accompaniment. But I do return from time to time to the ‘purer’ solo or duo lauda. In 2006 I wrote a number of pieces for the Estonian National Men’s Choir (RAM) chiefly through my friendship and collaborations with its conductor Kaspars Putnins who, as well as conducting the Latvian Radio Choir, was director of RAM. I wrote two laude for them. Lauda 31 was completely new, while Lauda 32 is a new version of Lauda 19 “Omne homoâ€. Both make full use of the special quality of the Estonian choir and Lauda 32 in particular deliberately aims to have the sound of singers in a Russian Orthodox tradition.Whatever vocal approach I use for setting lauda texts, I treat them with great respect in relation to the original lauda. I adhere as far as possible to the same number of notes to a syllable that are in the mediaeval versions, frequently following the melodic contours and sometimes quoting individual phrases. I still relish the challenge of writing vocal music which is quite exposed, and which retains something of the austerity of the original. Gavin Bryars (2012).
$6.99
6.44 €
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Gavin Bryars
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Laude Cortonese
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Schott Music - Digital
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SheetMusicPlus
Gay Gordons (I Love A Lassie / Roamin' In The Gloamin' / Just A Wee Doch An Doris / Stop Yer Ticklin' Jock / Keep Right On To The End Of The Road)
Accordéon
Accordion - Digital Download Composed by H. Lauder. Arranged by Julia Gordon. World, …
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Accordion - Digital Download Composed by H. Lauder. Arranged by Julia Gordon. World, Folk, European, Celtic. 5 pages. Published by Julia Gordon
Five Scottish melodies for a Gay Gordon's (I Love A Lassie / Roamin' In The Gloamin' / Just A Wee Doch An Doris / Stop Yer Ticklin' Jock / Keep Right On To The End Of The Road), arranged for accordion.Five Scottish melodies for a Gay Gordon's (I Love A Lassie / Roamin' In The Gloamin' / Just A Wee Doch An Doris / Stop Yer Ticklin' Jock / Keep Right On To The End Of The Road), arranged for accordion.
$6.50
5.99 €
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Accordéon
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H
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Julia Gordon
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Gay Gordons
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Julia Gordon
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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…
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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.
$38.95
35.91 €
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Piano seul
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Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
#
SheetMusicPlus
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…
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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.
$38.95
35.91 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
Orchestre
Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debuss…
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Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic. Score. 19 pages. Published by Musik Fabrik Music Publishing
Scored for 21EH22/2200/timp/1perc/hp/strings Parts on rental.<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907, Mourey offered Debussy a libretto based on Le roman de Tristan - Joesph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Tomas - which had recently been published in Paris. Debussy enthusiastically outline the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwal and that “Isolde of the white hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays hi when he goes mad at the end.<br> <br> The idea of a Tristan that restorced its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was “not very lyrical and many passages do not exactly “invite” music”, he did work on the libretto and the music that summer and sent his pubisher Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches it ecstatic climas, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.<br> <br> Unforunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrights for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br> Scored for 21EH22/2200/timp/1perc/hp/strings Parts on rental.<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907, Mourey offered Debussy a libretto based on Le roman de Tristan - Joesph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Tomas - which had recently been published in Paris. Debussy enthusiastically outline the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwal and that “Isolde of the white hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays hi when he goes mad at the end.<br> <br> The idea of a Tristan that restorced its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was “not very lyrical and many passages do not exactly “invite” music”, he did work on the libretto and the music that summer and sent his pubisher Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches it ecstatic climas, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.<br> <br> Unforunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrights for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br>
$19.95
18.39 €
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Orchestre
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Claude Debussy/Robert Orledge
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Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. Romantic Period, Impressionistic, Repertoire, Recital. Score. 6 pages. Published by Musik Fabrik Music Publishing
Recorded by Nicolas Horvath on Grand Piano records (GP822)<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwall and that “Isolde of the White Hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.<br> <br> The idea of a Tristan that restored its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was ‘not very lyrical and many passages do not exactly “invite” music‘, he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.<br> <br> Unfortunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br> <br> Robert OrledgeRecorded by Nicolas Horvath on Grand Piano records (GP822)<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwall and that “Isolde of the White Hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.<br> <br> The idea of a Tristan that restored its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was ‘not very lyrical and many passages do not exactly “invite” music‘, he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.<br> <br> Unfortunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br> <br> Robert Orledge
$10.35
9.54 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
DOCTOR GRADUS AD PARNASSUM from 'Children's Corner Suite' by CLAUDE DEBUSSY. PIANO SOLO
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1862-1918). Impressionistic, Post-Romantic, Recital. 8 pages. Published by Diamond S Music
DOCTOR GRADUS AD PARNASSUM from ‘Children’s Corner Suite’ by CLAUDE DEBUSSY for PIANO SOLO. The Latin phrase gradus ad Parnassum means "steps to Parnassus”. Debussy composed Children's Corner between 1906 and 1908. This piece is actually a rather ingenious study in finger independence with a Twentieth Century vocabulary. In the middle, the pianist slows down and tries his material in other keys for exercise. Debussy's Doctor Gradus Ad Parnassum is of intermediate difficulty and requires experienced fingers. The pianist gets wilder toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".This edition also includes a short biography of Debussy and some facts about the piece.<br> <br> Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940DOCTOR GRADUS AD PARNASSUM from ‘Children’s Corner Suite’ by CLAUDE DEBUSSY for PIANO SOLO. The Latin phrase gradus ad Parnassum means "steps to Parnassus”. Debussy composed Children's Corner between 1906 and 1908. This piece is actually a rather ingenious study in finger independence with a Twentieth Century vocabulary. In the middle, the pianist slows down and tries his material in other keys for exercise. Debussy's Doctor Gradus Ad Parnassum is of intermediate difficulty and requires experienced fingers. The pianist gets wilder toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".This edition also includes a short biography of Debussy and some facts about the piece.<br> <br> Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.99
4.6 €
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Piano seul
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Claude Debussy (1862-1918)
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DOCTOR GRADUS AD PARNASSUM from 'Children's Corner Suite' by CLAUDE DEBUSSY. PIANO SOLO
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Diamond S Music
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SheetMusicPlus
Tango Pour Claude for Horn and Piano
Cor et Piano
Piano Accompaniment, Horn in F - Intermediate - Digital Download By Richard Galliano.…
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Piano Accompaniment, Horn in F - Intermediate - Digital Download By Richard Galliano. Arranged by Diego Marani. Individual Part, Score, Solo Part. 14 pages. Published by Diego Marani
Richard Galliano is a French accordionist of Italian heritage. After a long and intense period of study, at 14, in a search to expand his ideas on the accordion, he began listening to jazz and heard records by the trumpet player Clifford Brown. The second decisive meeting took place in 1980, with the Argentinean composer and bandoneonist Astor Piazzolla.<br> Astor strongly encouraged Richard to create the French “New Musette”, as he himself had previously invented the Argentinean “New Tango”.<br> Some later collaboration include Chet Baker, Eddy Louiss, Ron Carter, Wynton Marsalis, Charlie Haden,<br> Gary Burton, Michel Portal, Toots Thielemans and Kurt Elling.<br> <br> This arrangement for F or Eb Horn with piano of one of his most famous and performed pieces (with clear rhythmic references to the Piazzolla's "Libertango") is suitable for classroom, repertoire and recital.Richard Galliano is a French accordionist of Italian heritage. After a long and intense period of study, at 14, in a search to expand his ideas on the accordion, he began listening to jazz and heard records by the trumpet player Clifford Brown. The second decisive meeting took place in 1980, with the Argentinean composer and bandoneonist Astor Piazzolla.<br> Astor strongly encouraged Richard to create the French “New Musette”, as he himself had previously invented the Argentinean “New Tango”.<br> Some later collaboration include Chet Baker, Eddy Louiss, Ron Carter, Wynton Marsalis, Charlie Haden,<br> Gary Burton, Michel Portal, Toots Thielemans and Kurt Elling.<br> <br> This arrangement for F or Eb Horn with piano of one of his most famous and performed pieces (with clear rhythmic references to the Piazzolla's "Libertango") is suitable for classroom, repertoire and recital.
$12.99
11.98 €
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Cor et Piano
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Richard Galliano
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Tango Pour Claude for Horn and Piano
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Diego Marani
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SheetMusicPlus
Tango Pour Claude for Brass Quartet
Quatuor de Cuivres
Trumpet, Trombone, Tuba, Horn in F, Brass Quartet - Intermediate - Digital Download …
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Trumpet, Trombone, Tuba, Horn in F, Brass Quartet - Intermediate - Digital Download By Richard Galliano. Arranged by Diego Marani. Score, Set of Parts. 21 pages. Published by Diego Marani
Richard Galliano is a French accordionist of Italian heritage. After a long and intense period of study, at 14, in a search to expand his ideas on the accordion, he began listening to jazz and heard records by the trumpet player Clifford Brown. The second decisive meeting took place in 1980, with the Argentinean composer and bandoneonist Astor Piazzolla.<br> Astor strongly encouraged Richard to create the French “New Musette”, as he himself had previously invented the Argentinean “New Tango”.<br> Some later collaboration include Chet Baker, Eddy Louiss, Ron Carter, Wynton Marsalis, Charlie Haden,<br> Gary Burton, Michel Portal, Toots Thielemans and Kurt Elling.<br> <br> This arrangement for brass quartet (Bb Trumpet 1, Bb Trumpet 2, Trombone or F Horn, Tuba) of one of his most famous and performed pieces (with clear rhythmic references to the Piazzolla's "Libertango") is suitable for classroom, repertoire and recital.Richard Galliano is a French accordionist of Italian heritage. After a long and intense period of study, at 14, in a search to expand his ideas on the accordion, he began listening to jazz and heard records by the trumpet player Clifford Brown. The second decisive meeting took place in 1980, with the Argentinean composer and bandoneonist Astor Piazzolla.<br> Astor strongly encouraged Richard to create the French “New Musette”, as he himself had previously invented the Argentinean “New Tango”.<br> Some later collaboration include Chet Baker, Eddy Louiss, Ron Carter, Wynton Marsalis, Charlie Haden,<br> Gary Burton, Michel Portal, Toots Thielemans and Kurt Elling.<br> <br> This arrangement for brass quartet (Bb Trumpet 1, Bb Trumpet 2, Trombone or F Horn, Tuba) of one of his most famous and performed pieces (with clear rhythmic references to the Piazzolla's "Libertango") is suitable for classroom, repertoire and recital.
$19.99
18.43 €
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Quatuor de Cuivres
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Richard Galliano
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Tango Pour Claude for Brass Quartet
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SheetMusicPlus
Clair de Lune Debussy Horn in F Quartet
Quatuor de cuivres: 4 cors
Horn in F, Brass Choir or Ensemble - Easy/Beginner - Digital Download Composed by Cla…
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Horn in F, Brass Choir or Ensemble - Easy/Beginner - Digital Download Composed by Claude Debussy (1862-1918). 20th Century, Impressionistic, Etudes and Exercises, Classroom, European. Score. 3 pages. Published by KrahenfuBlieder
Debussy's famous Clair de Lune adapted and revised so that beginners of all levels can perform the work, is in a tonally eased and reduced version, giving priority to the main theme of the piece. This version was made for bassoon quartet, for beginners who intend to learn the original work in the future.Debussy's famous Clair de Lune adapted and revised so that beginners of all levels can perform the work, is in a tonally eased and reduced version, giving priority to the main theme of the piece. This version was made for bassoon quartet, for beginners who intend to learn the original work in the future.
$4.99
4.6 €
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Quatuor de cuivres: 4 cors
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Claude Debussy (1862-1918)
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Clair de Lune Debussy Horn in F Quartet
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KrahenfuBlieder
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SheetMusicPlus
16 Favourite Hymns Vol.1 for Trombone (Treble Clef in B Flat) and Piano
Trombone et Piano
Piano,Trombone - Level 2 - Digital Download SKU: A0.590313 Composed by Various. Arr…
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Piano,Trombone - Level 2 - Digital Download SKU: A0.590313 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred. Score and part. 28 pages. David McKeown #6203829. Published by David McKeown (A0.590313). 16 Favourite Hymns Vol.1 for solo Trombone (Treble Clef in B Flat) is a collection of popular traditional hymns. They are simply arranged in easy keys for Trombone in B Flat on the Treble Clef with separate piano accompaniment and chord symbols provided in the same file. The hymns are in alphabetical order and are as follows· Abide with Me, (Eventide)· All People that on Earth do Dwell, (Old 100th)· All Things Bright and Beautiful, (Bright and Beautiful)· Amazing Grace, (Old Britain)· Be Thou MY Vision, (Slane)· Christ the Lord is Risen Today, (Crosby)· The Church’s One Foundation, (Aurelia)· City of God, (Richmond)· Crown Him with Many Crowns, (Diademata)· The Day Thou Gavest, (St Clement)· Dear Lord and Father of Mankind, (Repton)· Eternal Father Strong to Save, (Melita)· The God of Love My Shepherd Is, (University)· Oh God, Our Help in Ages Past, (St Anne)· Guide Me O Thou Great Jehovah, (Cwm Rhondda)· Praise My Soul the King of Heaven (Laude Anima)Volume 2 contains another 16 hymns arranged in the same way and is available via my home page at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$7.60
7.01 €
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Trombone et Piano
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Various
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David McKeown
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16 Favourite Hymns Vol.1 for Trombone
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David McKeown
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SheetMusicPlus
16 Favourite Hymns Vol.1 for Tenor Horn in E Flat and Piano
Instrumental Duet,Piano E-Flat Tenor Horn,Instrumental Solo,Piano - Level 2 - Digital Down…
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Instrumental Duet,Piano E-Flat Tenor Horn,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.590305 Composed by Various. Arranged by David McKeown. Praise & Worship,Sacred. Score and individual part. 28 pages. David McKeown #6203809. Published by David McKeown (A0.590305). 16 Favourite Hymns Vol.1 for solo Tenor Horn is a collection of popular traditional hymns. They are simply arranged in easy keys for Tenor Horn in E Flat with separate piano accompaniment and chord symbols provided in the same file. The hymns are in alphabetical order and are as follows· Abide with Me, (Eventide)· All People that on Earth do Dwell, (Old 100th)· All Things Bright and Beautiful, (Bright and Beautiful)· Amazing Grace, (Old Britain)· Be Thou MY Vision, (Slane)· Christ the Lord is Risen Today, (Crosby)· The Church’s One Foundation, (Aurelia)· City of God, (Richmond)· Crown Him with Many Crowns, (Diademata)· The Day Thou Gavest, (St Clement)· Dear Lord and Father of Mankind, (Repton)· Eternal Father Strong to Save, (Melita)· The God of Love My Shepherd Is, (University)· Oh God, Our Help in Ages Past, (St Anne)· Guide Me O Thou Great Jehovah, (Cwm Rhondda)· Praise My Soul the King of Heaven (Laude Anima)Volume 2 contains another 16 hymns arranged in the same way and is available via my home page at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$7.60
7.01 €
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Various
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David McKeown
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16 Favourite Hymns Vol.1 for Tenor Horn in E Flat and Piano
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David McKeown
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SheetMusicPlus
Violin Duet #1 in A Minor (Score and Parts)
Violon
Violin Solo - Level 2 - Digital Download SKU: A0.835151 Composed by Cody Weinmann. …
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Violin Solo - Level 2 - Digital Download SKU: A0.835151 Composed by Cody Weinmann. Concert,Contemporary,Standards. 7 pages. Cody Weinmann #5884133. Published by Cody Weinmann (A0.835151). Cody Weinmann plays and writes for many genres including solo pieces, pop songs, band and orchestral works, choral works and sacred and church music. He is a big lover of big sound textures, especially pianoconcertos or orchestral pieces with a piano feature. He has perfect pitch and synesthesia. He graduated cum laude with dual Bachelor’s degrees in Music Composition and Technology. You can find me on Youtube at Cody Weinmann, Composer and Instagram at codyweinmann.
$5.99
5.52 €
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Violon
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Cody Weinmann
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Violin Duet #1 in A Minor
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Cody Weinmann
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SheetMusicPlus
Roamin' in the Gloamin', - instruments in four parts
Small Ensemble - Level 3 - Digital Download SKU: A0.835870 Composed by Harry Lauder…
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Small Ensemble - Level 3 - Digital Download SKU: A0.835870 Composed by Harry Lauder. Arranged by Paul Burnell. Contemporary. Score and parts. 20 pages. Paul Burnell #6429215. Published by Paul Burnell (A0.835870). Roamin' in the Gloamin' by Harry Lauder (1870 - 1950), arranged by Paul Burnell for instruments in four parts.Duration 2:40Score in CDownload comprises score and partsThe arrangement is suitable for multiple quartet combinations with parts available (and potential instrumentations suggested) as follows:Part 1: C, Eb (Flute, Oboe, Alto Recorder, Eb Clarinet, Violin 1)Part 2: C, Bb, G (Alto Flute, Oboe, Tenor Recorder, Bb Clarinet, Violin 2)Part 3: C - Bb, Eb, F (Bb Clarinet, Bass Recorder, Alto Saxophone, Horn in F, Violin 3, Viola)Part 4: C - Bb, F (Bassoon, Great bass recorder, Tenor saxophone, Horn in F, 'Cello)Part 4 may be played an octave lower than written - using the 'Bass Clef up 8' part.Any other appropriate instruments, even if not suggested above, may play.Play the repeat at bar 25 both before and after the D.S.Programme note:Scottish singer and comedian Sir Harry Lauder wrote Roamin’ in the Gloamin’ in 1911. The song tells of a couple courting in the evening - When the sun has gone to rest, that's the time we love the best. O, it's lovely roamin' in the gloamin!
$3.99
3.68 €
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Harry Lauder
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Paul Burnell
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Roamin' in the Gloamin', - instruments in four parts
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Paul Burnell
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SheetMusicPlus
Roamin' in the Gloamin', - duet: instruments in Eb and Bb
Small Ensemble Alto Saxophone,Euphonium,Tenor Saxophone - Level 3 - Digital Download SK…
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Small Ensemble Alto Saxophone,Euphonium,Tenor Saxophone - Level 3 - Digital Download SKU: A0.835871 Composed by Harry Lauder. Arranged by Paul Burnell. Contemporary. Score and parts. 7 pages. Paul Burnell #6431477. Published by Paul Burnell (A0.835871). Roamin' in the Gloamin', Harry Lauder (1870 - 1950), arranged by Paul Burnell for duet - instrument in Eb, instrument in BbDuration 2:40 Part 1 in Eb (Alto Clarinet, Alto Saxophone, Tenor Horn)Part 2 in Bb (Bass Clarinet, Tenor Saxophone, Euphonium)The arrangement may be suitable for other instruments with the same transpositions.Score shows parts transposed.The key of the original piece has been transposed.Play the repeat at bar 25 both before and after the D.S.Programme note:Scottish singer and comedian Sir Harry Lauder wrote Roamin' in the Gloamin’ in 1911. The song tells of a couple courting in the evening - When the sun has gone to rest, that's the time we love the best. O, it's lovely roamin' in the gloamin!
$1.99
1.83 €
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Harry Lauder
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Paul Burnell
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Roamin' in the Gloamin', - duet: instruments in Eb and Bb
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Paul Burnell
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SheetMusicPlus
Roamin' in the Gloamin', - duet: Tenor and Bass Recorder
Instrumental Duet Bass Recorder,Instrumental Duet,Tenor Recorder - Level 3 - Digital Downl…
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Instrumental Duet Bass Recorder,Instrumental Duet,Tenor Recorder - Level 3 - Digital Download SKU: A0.835873 Composed by Harry Lauder. Arranged by Paul Burnell. Contemporary. Score and parts. 7 pages. Paul Burnell #6431479. Published by Paul Burnell (A0.835873). Roamin' in the Gloamin', Harry Lauder (1870 - 1950), arranged by Paul Burnell for duet - Tenor Recorder, Bass RecorderThe download comprises both score and partsDuration 2:40The key of the original piece has been transposed.Play the repeat at bar 25 both before and after the D.S.Programme note:Scottish singer and comedian Sir Harry Lauder wrote Roamin' in the Gloamin’ in 1911. The song tells of a couple courting in the evening - When the sun has gone to rest, that's the time we love the best. O, it's lovely roamin' in the gloamin!
$1.99
1.83 €
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Harry Lauder
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Paul Burnell
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Roamin' in the Gloamin', - duet: Tenor and Bass Recorder
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Paul Burnell
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SheetMusicPlus
"Maggie Lauder"
Piano seul
Instrumental Duet Harpsichord,Instrumental Duet,Piano - Digital Download SKU: A0.924285…
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Instrumental Duet Harpsichord,Instrumental Duet,Piano - Digital Download SKU: A0.924285 Composed by attrib. Robert Bremner (c.1713 - 1789). Arranged by Ed., by Z.M. Barnes, and with new variations. 20th Century,Baroque,Celtic,Concert. Score and parts. 9 pages. ©Z.M. Barnes & Rising Lark Music #4731873. Published by ©Z.M. Barnes & Rising Lark Music (A0.924285). Capture your audience with a musical surprise. This piece recollects musical life in the American colonies and pictures harpsichord playing at Mount Vernon. Maggie Lauder is a catchy, lively Scottish tune, with a humorous set of verses about Maggie's dancing to the piping of a famous Scot bagpiper.It was a very popular tune for singing or dancing in the American colonies. In fact, the tune took on a new name, Cornwallis Burgoynd, with new words to poke fun at the defeated British general Cornwallis after his troops surrendered to end the American Revolution. As a harpsichord piece, with variations, it was published by Scots musician Robert Bremner. The family of George Washington at Mount Vernon owned this music, which was probably played by his granddaughter Nelly Custis. New variations have been added. An interesting addition to any harpsichord program, esp. on patriotic occasions. 4 pp. About 4 min. .
$4.99
4.6 €
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Piano seul
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attrib
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Ed
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This piece recollects
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"Maggie Lauder"
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©Z.M. Barnes & Rising Lark Music
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SheetMusicPlus
Four of the Best Sir Harry Lauder Songs
Trompette
Piano,Trumpet - Level 3 - Digital Download SKU: A0.770298 Composed by Sir Harry Lau…
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Piano,Trumpet - Level 3 - Digital Download SKU: A0.770298 Composed by Sir Harry Lauder. Arranged by David D. Mason. Celtic,Holiday,Love. Score and part. 39 pages. David D Mason #6667329. Published by David D Mason (A0.770298). I have arranged four of the most popular Sir Harry Lauder songs for Trumpet with Piano accompaniment : Roamin in the Gloamin, A Wee Deoch and Doris, I Love a Lassie and Keep Right on to the End of the Road I have also added optional Bass and Drum parts.
$10.99
10.13 €
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Trompette
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Sir Harry Lauder
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David D
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Four of the Best Sir Harry Lauder Songs
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David D Mason
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SheetMusicPlus
Four of the Best Sir Harry Lauder Songs
Trompette, Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Trumpet - Level 3 - Digital Download SK…
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Instrumental Duet,Piano Instrumental Duet,Piano,Trumpet - Level 3 - Digital Download SKU: A0.770297 Composed by Sir Harry Lauder. Arranged by David D. Mason. Celtic,Holiday,Love. Score and parts. 40 pages. David D Mason #6667969. Published by David D Mason (A0.770297). I have arranged four of the most popular Sir Harry Lauder songs for Trumpet Duet with Piano accompaniment and added optional Bass and Drum parts. : Roamin in the Gloamin, A Wee Deoch and Doris, I Love a Lassie and Keep right on to the End of the Road.
$10.99
10.13 €
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Trompette, Piano
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Sir Harry Lauder
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David D
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: Roamin in the Gloamin,
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Four of the Best Sir Harry Lauder Songs
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David D Mason
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SheetMusicPlus
Four of the Best Sir Harry Lauder Songs
Trompette, Piano
Small Ensemble Piano,Trumpet - Level 3 - Digital Download SKU: A0.770299 Composed b…
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Small Ensemble Piano,Trumpet - Level 3 - Digital Download SKU: A0.770299 Composed by Sir Harry Lauder. Arranged by David D. Mason. Celtic,Holiday,Love. Score and parts. 44 pages. David D Mason #6672539. Published by David D Mason (A0.770299). I have arranged four of the most popular Sir Harry Lauder songs for Trumpet Trio with Piano accompaniment. I have also added optional Bass and drum parts. : 1. Roamin in the Gloamin 2. A Wee Deoch and Doris 3. I Love a Lassie 4. Keep Right on to the End of the Road.
$10.99
10.13 €
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Trompette, Piano
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Sir Harry Lauder
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David D
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: 1
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Four of the Best Sir Harry Lauder Songs
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David D Mason
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SheetMusicPlus
Four of the Best Sir Harry Lauder Songs
Small Ensemble Double Bass,Drum Set,Flute,Piano Accompaniment - Level 3 - Digital Download…
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Small Ensemble Double Bass,Drum Set,Flute,Piano Accompaniment - Level 3 - Digital Download SKU: A0.770296 Composed by Sir Harry Lauder. Arranged by David D. Mason. Celtic,Concert,Holiday,Patriotic. Score and parts. 40 pages. David D Mason #6666247. Published by David D Mason (A0.770296). I have arranged four of the most popular Sir Harry Lauder songs for Flute with Piano accompaniment : Roamin in the Gloamin, A Wee Deoch and Doris, I Love a Lassie and Keep right on to the End of the Road. I have also added optional Bass and Drum parts.
$10.99
10.13 €
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Sir Harry Lauder
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David D
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Four of the Best Sir Harry Lauder Songs
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David D Mason
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SheetMusicPlus
4 Sir Harry Lauder Songs for Violin
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.770295 Composed by Sir Harry Laud…
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Piano,Violin - Level 3 - Digital Download SKU: A0.770295 Composed by Sir Harry Lauder. Arranged by David D. Mason. Celtic,Concert,Holiday,Love. 39 pages. David D Mason #6664561. Published by David D Mason (A0.770295). I have arranged 4 of the most popular Sir Harry Lauder songs - Roamin in the Gloamin - A Wee Deoch and Doris - I Love a Lassie and Keep Right On To The End Of The Road for Violin with Piano accompaniment and added optional Bass and Drum parts.
$10.99
10.13 €
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Violon et Piano
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Sir Harry Lauder
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David D
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4 Sir Harry Lauder Songs for Violin
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David D Mason
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SheetMusicPlus
Prelude on Victimae Paschali Laudes, Op. 17 (Organ Solo) by Ausra Motuzaite-Pinkeviciene
Orgue
Organ - Level 2 - Digital Download SKU: A0.1407237 Composed by Ausra Motuzaite-Pink…
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Organ - Level 2 - Digital Download SKU: A0.1407237 Composed by Ausra Motuzaite-Pinkeviciene. Christian,Contemporary,Easter,Religious,Sacred. Score. 5 pages. Vidas Pinkevicius #989928. Published by Vidas Pinkevicius (A0.1407237). This composition is based on Gregorian chant sequence Victimae Paschali Laudes for Easter time. The tune is featured in the right hand part, the left hand plays rhythmically exciting ostinato pattern taken from the chant phrase and the feet play intervals of open fifths to reinforce the ancient modal character. This piece will be very effective in liturgical organ playing and concert programs. Dedicated to Philippe Le Gargean.
$4.99
4.6 €
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Orgue
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Ausra Motuzaite-Pinkeviciene
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Prelude on Victimae Paschali Laudes, Op. 17
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Vidas Pinkevicius
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SheetMusicPlus
Quem Pastores Laudevere - 2 Voices & Piano
Voix duo
Voice Duet Voice - Level 2 - Digital Download SKU: A0.823982 Composed by TK Tim Mur…
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Voice Duet Voice - Level 2 - Digital Download SKU: A0.823982 Composed by TK Tim Murray. Arranged by TK (Tim) Murray. Christian,Christmas,Spiritual. 4 pages. TK (Tim) Murray #4759843. Published by TK (Tim) Murray (A0.823982). Quem Pastores Laudevere is a beautiful Christmas Carol here with a descant and imaginative new Piano part. Originally from Glasgow, Timothy studied at the Royal College of Music, London and the Banff Centre, Canada. He was the Pianist for the Isis Piano Trio and Ballet Creations and is now in demand as an accompanist and chamber musician having performed with artists such as Dame Sarah Connolly and Tasmin Little. He has toured widely internationally and has recorded for BBC Radio 3 and Classic FM as well as TV appearances in Russia and Egypt. Murray’s compositions have been recorded by The Fibbonnaci Sequence and Piers Lane among others with reviews such as ‘Corruscating’ (Independent) and ‘Highly imaginative’ (The Sunday Times).Contact; tkmurraycomp@aol.com
$6.95
6.41 €
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Voix duo
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TK Tim Murray
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TK (Tim) Murray
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tkmurraycomp@aol
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Quem Pastores Laudevere - 2 Voices & Piano
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TK
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SheetMusicPlus
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