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ACCORDEON
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AUTRES INST…
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FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
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HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
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OUD
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PERCU. ORCH…
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
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NOËL
OLD TIME - EARLY ROC…
OPERA
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POP ROCK - POP MUSIC
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Note4Piano
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SheetMusicPlus
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Non classifié
2317
PIANO & CLAVIERS
Piano, Voix
2739
Piano seul
1228
Piano Facile
334
Orgue
284
Piano, Voix et Guitare
246
Accompagnement Piano
92
Instruments en Do
83
1 Piano, 4 mains
45
Piano Trio: piano, violon, violoncelle
24
Piano grosses notes
17
Piano (partie séparée)
11
2 Pianos, 4 mains
10
Accordéon
9
Orgue, Piano (duo)
8
Piano Quatuor: piano, violon, alto, violoncelle
6
Clavecin
4
Piano Quatuor: piano, 2 violons, violoncelle
4
Piano Quintette: piano, 2 violons, alto, violoncelle
3
2 Pianos, 8 mains
2
Ensemble d'Accordéons
1
2 Orgues (duo)
1
Tous Les Instruments
1
Orgue, Trompette (duo)
1
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GUITARES
Guitare
319
Guitare notes et tablatures
210
Ligne De Mélodie, (Paroles) et Accords
65
2 Guitares (duo)
61
Ukulele
48
Basse electrique
42
Ensemble de guitares
20
Paroles et Accords
18
3 Guitares (trio)
16
4 Guitares (Quatuor)
11
Banjo
10
Dulcimer
8
Guitare (partie séparée)
8
Mandoline
5
Piano, Guitare (duo)
3
Partitions De Groupes
3
2 Ukuleles
2
Guitare, Orchestre
1
2 Dulcimers (duo)
1
Instrumentations suivantes
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VOIX
Chorale SATB
1123
Chorale TTBB
304
Chorale 3 parties
262
Chorale 2 parties
172
Chorale SSAA
162
Voix seule
85
Chorale Unison
78
Pack Instrumental pour Chorale
73
Voix duo, Piano
49
Voix Soprano, Piano
36
Voix Alto, Piano
28
Voix Tenor, Piano
24
Voix duo
20
Chorale
19
Voix haute
7
Voix Baryton, Piano
7
Chorale SSAATTBB
6
Voix moyenne, Piano
5
Chorale SSAB a cappella
4
Voix Tenor
3
Chorale SSATB
2
Chorale SSATTB
2
Chorale SSATBB
2
Chorale, Orgue
2
Chorale SSAB, Piano
2
Voix basse
1
Voix Mezzo-Soprano, Piano
1
Instrumentations suivantes
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VENTS
Saxophone (partie séparée)
209
Flûte traversière et Piano
198
Clarinette (partie séparée)
163
Clarinette et Piano
134
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
125
Quatuor de Saxophones: 4 saxophones
124
Hautbois, Piano (duo)
93
2 Flûtes traversières (duo)
88
Flûte traversière
86
Quatuor de Clarinettes: 4 clarinettes
83
Clarinette
76
Saxophone Alto et Piano
75
2 Saxophones (duo)
73
Flûte, Hautbois, Clarinette, Basson
73
Hautbois (partie séparée)
67
Flûte et Guitare
64
Saxophone Tenor et Piano
61
Saxophone Tenor
57
2 Clarinettes (duo)
57
Saxophone Alto
55
Flute (partie séparée)
53
Saxophone Soprano et Piano
43
Quatuor de Flûtes : 4 flûtes
37
Ensemble de Clarinettes
26
Flûte, Clarinette (duo)
24
Quintette de Saxophone: 5 saxophones
24
3 Clarinettes (trio)
23
Hautbois
22
Saxophone Baryton, Piano
22
Ensemble de Flûtes
19
Saxophone, Clarinette (duo)
19
2 Hautbois (duo)
16
3 Saxophones (trio)
14
Trio de Flûtes: 3 flûtes
14
Hautbois, Basson (duo)
13
Cor anglais, Piano
13
Flûte à bec Soprano
13
Clarinette, Trompette (duo)
12
Clarinette, Violon (duo)
12
Quintette de Clarinettes: 5 clarinettes
12
Hautbois, Clarinette (duo)
11
Hautbois, Clarinette, Basson (trio d'anches)
10
Flûte, Clarinette et Basson
9
Ensemble de saxophones
9
Flûte à bec Alto
9
Clarinette et Alto
8
Flûte, Violoncelle
8
Clarinette, Basson (duo)
8
Clarinette Basse, Piano
7
Flûte, Violon
7
Flûte, Violon, Piano
7
Flûte, Hautbois (duo)
7
Cor Anglais
6
Flûte, Hautbois, Clarinette (trio)
6
Flûte, Alto (duo)
6
Piccolo
6
Clarinette Basse
6
Flûte, Saxophone (duo)
6
Flûte, Violoncelle, Piano (trio)
5
Flûte, Trombone (duo)
5
Hautbois, Flûte
5
Flûte, Clarinette, Piano (trio)
4
Harmonica
4
Flûte, Trompette (duo)
4
Ocarina
4
2 Flûte à bec (duo)
4
Hautbois, Violoncelle
4
Flûte à Bec
4
Clarinette, Guitare (duo)
4
Quintette de Flûte : 5 flûtes
4
Clarinette, Violoncelle (duo)
3
2 Clarinettes, Piano
3
Flûte, Basson et Piano
3
Saxophone Soprano
3
Flute, harpe et violon
2
Saxophone
2
Saxophone et violoncelle
2
Flûte, Hautbois, Basson
2
Saxophone Baryton
2
2 Flûtes traversières, Piano
2
Saxophone et Harpe
2
2 Clarinettes, Basson
2
Flûte, Violon et Violoncelle
2
Saxophone et Guitare
2
2 Saxophones, Piano
2
Flûte, Violon, Violoncelle et Piano
2
Flûte à bec Tenor
2
Clarinette, Trombone (duo)
2
3 Flûtes à bec (trio)
2
Flûte, Tuba (duo)
1
Flûte, Hautbois, Piano (trio)
1
3 Hautbois
1
Flûte à bec Alto, Piano
1
Clarinette, trompette et piano
1
Flûte à bec Alto, Basse continue
1
Hautbois, trombone (duo)
1
Ensemble à vent
1
Flûte, Hautbois, Violon
1
Flûte, alto et harpe
1
Hautbois et alto (duo)
1
Clarinette, Harpe (duo)
1
Quatuor de Flûtes à bec
1
Clarinette, Violoncelle, Piano (trio)
1
Ensemble De Flûte à bec
1
Cor anglais, Guitare (duo)
1
Saxophone et Piano
1
Flûte, Alto et Piano
1
Flûte, Clarinette, Violon (trio)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Flûte à bec Soprano, Piano
1
Hautbois, Guitare (duo)
1
Flûte à bec, Guitare (duo)
1
Clarinette, Tuba
1
Flute, Cor (duo)
1
Instrumentations suivantes
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CUIVRES
Trombone (partie séparée)
156
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
138
Trompette (partie séparée)
117
Trombone et Piano
77
Trompette
75
Quatuor de Cuivres : 2 trompettes, trombone, tuba
72
Cor (partie séparée)
72
Trombone
66
Trompette, Piano
65
Cor et Piano
64
Tuba (partie séparée)
59
Cor
51
Tuba
49
2 Trompettes (duo)
31
2 Cors (duo)
28
2 Trombones (duo)
24
Trompette, Trombone (duo)
22
Tuba et Piano
22
Quatuor de Cuivres
22
Quatuor de cuivres: 4 cors
21
Quatuor de Cuivres: 2 trompettes, Cor, trombone
16
Trompette, Saxophone (duo)
15
Cor anglais, Piano
13
Euphonium
13
Euphonium, Piano (duo)
12
Quatuor de cuivres: 4 trombones
12
2 Euphoniums et 2 Tubas
10
2 Tubas (duo)
7
Cor Anglais
6
Ensemble de Trombones
6
Cornet A Pistons
6
Trompette, Cor (duo)
6
4 Tubas
6
Tuba ou Euphonium ou Saxhorn
5
3 Trombones (trio)
4
Tuba et Orgue
4
3 Trompettes (trio)
4
Trompette, Tuba (duo)
3
Quatuor de cuivres: 4 trompettes
3
Trompette et Guitare
3
Trombone, Violon (duo)
3
Trombone, Tuba (duo)
3
Trio de Cuivres
3
Cor et Harpe
2
Ensemble de Cors
2
Trompette, Violoncelle (duo)
2
Cor, Violoncelle (duo)
2
Trombone, Alto (duo)
2
Euphonium, Tuba (duo)
2
Trompette, Trombone, Piano
2
Trombone, Cor (duo)
2
Cor et Basson (duo)
2
Trompette, Violoncelle et Piano
1
Ensemble de Tubas
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
3 Cors (trio)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Cor anglais, Guitare (duo)
1
Trombone basse
1
Trompette, violon (duo)
1
Trompette, Harpe
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
331
Violon et Piano
237
Violoncelle, Piano
171
Violon (partie séparée)
122
Violon
122
Alto, Piano
116
Violoncelle
80
Violon, Violoncelle (duo)
59
Trio à Cordes: violon, alto, violoncelle
54
Alto seul
52
2 Violons (duo)
49
Harpe
42
Contrebasse (partie séparée)
36
Alto (partie séparée)
36
Contre Basse
32
2 Violoncelles (duo)
29
Contrebasse, Piano (duo)
24
Violon, Alto (duo)
23
2 Altos (duo)
22
Violoncelle (partie séparée)
21
Trio à Cordes: 2 violons, violoncelle
20
Quintette à cordes: 2 violons, alto, violoncelle, basse
14
4 Violoncelles
11
Violon, Guitare (duo)
11
Alto, Violoncelle (duo)
8
2 Contrebasses (duo)
7
Trio à cordes: 3 violins
6
Piano Trio: Violon, Alto, Piano
6
2 Harpes (duo)
5
Alto et Basson
3
Violon, Clarinette, Piano (trio)
3
Violon, Basson (duo)
3
Trio à cordes: 3 altos
2
Harpe, Flûte (duo)
2
Violoncelle , Guitare (duo)
2
Trio à Cordes: 3 violoncelles
2
Flûte, Contrebasse (duo)
2
Trio à Cordes: 2 violons, alto
2
Violoncelle, Contrebasse (duo)
1
4 Contrebasses
1
Harpe (partie séparée)
1
Harpe, Violon (duo)
1
Alto et Harpe
1
Violon, Tuba (duo)
1
Quatuor à cordes: 4 violons
1
Alto, Guitare (duo)
1
Violoncelle, Orchestre
1
Violon, Violoncelle, Clarinette
1
Violoncelle, Orgue
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
2173
Orchestre
275
Orchestre à Cordes
208
Ensemble de cuivres
125
Percussion (partie séparée)
94
Ensemble Jazz
84
Cloches
72
Orchestre de chambre
54
Jazz combo
50
Timbales (partie séparée)
32
Fanfare
27
Percussion
25
Batterie
20
Ensemble de Percussions
11
Vibraphone
7
Marimba
6
Batterie (partie séparée)
6
Xylophone, Piano
4
Timbales
4
Xylophone
3
Orchestre, Violon
1
Piano et Orchestre
1
Quintette à Vent
1
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
1
Quintette de Cuivres: autres combinaisons
1
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
Robert A
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9976
All In The April Evening A Cappella SSAB
Chorale SSAB a cappella
Choral Choir,Choral,SSAB Chorus - Level 3 - Digital Download SKU: A0.1470189 Compos…
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Choral Choir,Choral,SSAB Chorus - Level 3 - Digital Download SKU: A0.1470189 Composed by Hugh S Roberton. Arranged by Andrew Emmet. A Cappella,Christian,Easter,Sacred,Spiritual. 4 pages. Andrew J Emmet #1047935. Published by Andrew J Emmet (A0.1470189). SSAB A Cappella arrangement.
$4.00
3.65 €
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Chorale SSAB a cappella
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Hugh S Roberton
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Andrew Emmet
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All In The April Evening A Cappella SSAB
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Andrew J Emmet
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SheetMusicPlus
A Forge, and a Scythe
Guitare
Guitar - advanced to difficult - Digital Download Composed by Robert A. Baker. This e…
(+)
Guitar - advanced to difficult - Digital Download Composed by Robert A. Baker. This edition: Sheet music. Downloadable. Duration 9 minutes. Chanterelle #Q49821. Published by Chanterelle
English - German.<br> <br> A fine new medium to difficult guitar work in written in hommage to the great 20th century guitar composers. ideal for concerts or competitions.English - German.<br> <br> A fine new medium to difficult guitar work in written in hommage to the great 20th century guitar composers. ideal for concerts or competitions.
$9.99
9.12 €
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Guitare
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Robert A
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A Forge, and a Scythe
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Chanterelle
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SheetMusicPlus
Lines on a Walk II - Score Only
Level 3 - Digital Download SKU: A0.1408376 Composed by Robert A. Howard. 21st Centu…
(+)
Level 3 - Digital Download SKU: A0.1408376 Composed by Robert A. Howard. 21st Century,Chamber,Classical,Contemporary,March. 6 pages. Robert A. Howard #990958. Published by Robert A. Howard (A0.1408376). Lines on a Walk II takes its title from the Pedagogical Sketchbook by the Swiss-born artist Paul Klee (1925). Klee was fascinated by music (he played the violin) and many composers have interpreted Klee's notion of 'line' as a way to conceive musical melody. Lines on a Walk II is an abridged chamber version of the original Lines on a Walk piece that was flexibly scored in 15 instrumental parts. This second version is specifically written for flute, clarinet, piano, percussion (any 3 apt untuned instruments, plus marimba & vibraphone), violin, and cello. It was written for IXION and first performed by them, conducted by composer Michael Finnissy in 2001. Note: this document is the full score only. The full set of parts (and score) are available via a search of the COMA Music Library.Duration: 2 minutes 30 seconds.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.ukÂ
$4.99
4.55 €
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Robert A
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Lines on a Walk II - Score Only
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Robert A. Howard
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SheetMusicPlus
A Babe is Born (Flexible Version - Score Only)
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1404787 Composed by Robert A…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1404787 Composed by Robert A. Howard. 21st Century,Advent,Chamber,Christmas,Praise & Worship. Score. 3 pages. Robert A. Howard #987851. Published by Robert A. Howard (A0.1404787). This Carol deliberately references early music in its style and character. A catchy, rocking, folk-like melody in compound time is harmonised with alternating minor/major tonality, false relations, and a striding bass line. The anonymous text is from the 15th century. This flexible version is for solo or unison voices, with piano/organ/keyboard and 4 instrumental parts. This document is the score only.Duration: 2 minutes.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$2.49
2.27 €
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Piano, Voix
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Robert A
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A Babe is Born
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Robert A. Howard
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SheetMusicPlus
A Christmas Carol (Main Title) (arr. Robert Longfield) (29-Piece Digital Pack)
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: HX.441167 Arranged by Robert Longfie…
(+)
Concert Band - Level 3 - Digital Download SKU: HX.441167 Arranged by Robert Longfield. This edition: scorch. Carol,Christmas,Film/TV,Holiday. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.441167).
Digital Pack includes:A Christmas Carol (Main Title) (arr. Robert Longfield) - Conductor Score (Full Score)A Christmas Carol (Main Title) (arr. Robert Longfield) - OboeA Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Clarinet 3A Christmas Carol (Main Title) (arr. Robert Longfield) - Flute 2A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Clarinet 1A Christmas Carol (Main Title) (arr. Robert Longfield) - Flute 1A Christmas Carol (Main Title) (arr. Robert Longfield) - Eb Alto Saxophone 1A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Bass ClarinetA Christmas Carol (Main Title) (arr. Robert Longfield) - BassoonA Christmas Carol (Main Title) (arr. Robert Longfield) - Eb Alto Saxophone 2A Christmas Carol (Main Title) (arr. Robert Longfield) - PiccoloA Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Clarinet 2A Christmas Carol (Main Title) (arr. Robert Longfield) - Trombone 1A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Tenor SaxophoneA Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Trumpet 3A Christmas Carol (Main Title) (arr. Robert Longfield) - F Horn 2A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Trumpet 2A Christmas Carol (Main Title) (arr. Robert Longfield) - Trombone 2A Christmas Carol (Main Title) (arr. Robert Longfield) - Eb Baritone SaxophoneA Christmas Carol (Main Title) (arr. Robert Longfield) - Baritone B.C.A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Trumpet 1A Christmas Carol (Main Title) (arr. Robert Longfield) - F Horn 1A Christmas Carol (Main Title) (arr. Robert Longfield) - TubaA Christmas Carol (Main Title) (arr. Robert Longfield) - Baritone T.C.A Christmas Carol (Main Title) (arr. Robert Longfield) - TimpaniA Christmas Carol (Main Title) (arr. Robert Longfield) - String BassA Christmas Carol (Main Title) (arr. Robert Longfield) - Mallet PercussionA Christmas Carol (Main Title) (arr. Robert Longfield) - Percussion 2A Christmas Carol (Main Title) (arr. Robert Longfield) - Percussion 1
Digital Pack includes
:
A Christmas Carol (Main Title) (arr. Robert Longfield) - Conductor Score (Full Score)
A Christmas Carol (Main Title) (arr. Robert Longfield) - Oboe
A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Clarinet 3
A Christmas Carol (Main Title) (arr. Robert Longfield) - Flute 2
A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Clarinet 1
A Christmas Carol (Main Title) (arr. Robert Longfield) - Flute 1
A Christmas Carol (Main Title) (arr. Robert Longfield) - Eb Alto Saxophone 1
A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Bass Clarinet
A Christmas Carol (Main Title) (arr. Robert Longfield) - Bassoon
A Christmas Carol (Main Title) (arr. Robert Longfield) - Eb Alto Saxophone 2
A Christmas Carol (Main Title) (arr. Robert Longfield) - Piccolo
A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Clarinet 2
A Christmas Carol (Main Title) (arr. Robert Longfield) - Trombone 1
A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Tenor Saxophone
A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Trumpet 3
A Christmas Carol (Main Title) (arr. Robert Longfield) - F Horn 2
A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Trumpet 2
A Christmas Carol (Main Title) (arr. Robert Longfield) - Trombone 2
A Christmas Carol (Main Title) (arr. Robert Longfield) - Eb Baritone Saxophone
A Christmas Carol (Main Title) (arr. Robert Longfield) - Baritone B.C.
A Christmas Carol (Main Title) (arr. Robert Longfield) - Bb Trumpet 1
A Christmas Carol (Main Title) (arr. Robert Longfield) - F Horn 1
A Christmas Carol (Main Title) (arr. Robert Longfield) - Tuba
A Christmas Carol (Main Title) (arr. Robert Longfield) - Baritone T.C.
A Christmas Carol (Main Title) (arr. Robert Longfield) - Timpani
A Christmas Carol (Main Title) (arr. Robert Longfield) - String Bass
A Christmas Carol (Main Title) (arr. Robert Longfield) - Mallet Percussion
A Christmas Carol (Main Title) (arr. Robert Longfield) - Percussion 2
A Christmas Carol (Main Title) (arr. Robert Longfield) - Percussion 1
$70.00
63.89 €
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Orchestre d'harmonie
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Robert Longfield
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A Christmas Carol
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Hal Leonard - Digital
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SheetMusicPlus
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) (27-Piece Digital Pack)
Orchestre d'harmonie
Level 4 - Digital Download SKU: HX.421017 Composed by Karl Jenkins. Arranged by Rob…
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Level 4 - Digital Download SKU: HX.421017 Composed by Karl Jenkins. Arranged by Robert Longfield. This edition: scorch. Classical. 1 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.421017).
Digital Pack includes:The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Conductor Score (Full Score)The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Flute/PiccoloThe Armed Man (from A Mass for Peace) (arr. Robert Longfield) - OboeThe Armed Man (from A Mass for Peace) (arr. Robert Longfield) - BassoonThe Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Clarinet 1The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Clarinet 2The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Clarinet 3The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Bass ClarinetThe Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Eb Alto Saxophone 1The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Eb Alto Saxophone 2The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Tenor SaxophoneThe Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Trumpet 1The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Eb Baritone SaxophoneThe Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Trumpet 2The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - F Horn 1The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Trumpet 3The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - F Horn 2The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Trombone 1The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Trombone 2The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Euphonium B.C.The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Euphonium T.C.The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - TubaThe Armed Man (from A Mass for Peace) (arr. Robert Longfield) - String BassThe Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Percussion 1The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Percussion 2The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Percussion 3The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Timpani
Digital Pack includes
:
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Conductor Score (Full Score)
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Flute/Piccolo
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Oboe
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bassoon
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Clarinet 1
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Clarinet 2
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Clarinet 3
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Bass Clarinet
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Eb Alto Saxophone 1
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Eb Alto Saxophone 2
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Tenor Saxophone
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Trumpet 1
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Eb Baritone Saxophone
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Trumpet 2
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - F Horn 1
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Bb Trumpet 3
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - F Horn 2
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Trombone 1
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Trombone 2
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Euphonium B.C.
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Euphonium T.C.
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Tuba
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - String Bass
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Percussion 1
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Percussion 2
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Percussion 3
The Armed Man (from A Mass for Peace) (arr. Robert Longfield) - Timpani
$85.00
77.58 €
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Orchestre d'harmonie
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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
#
SheetMusicPlus
A Whole New World (from Aladdin) (arr. Robert Longfield) (21-Piece Digital Pack)
Orchestre d'harmonie
Concert Band - Level 1.5 - Digital Download SKU: HX.439454 Arranged by Robert Longf…
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Concert Band - Level 1.5 - Digital Download SKU: HX.439454 Arranged by Robert Longfield. This edition: scorch. Children,Disney,Film/TV,Wedding. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.439454).
Digital Pack includes:A Whole New World (from Aladdin) (arr. Robert Longfield) - Conductor Score (Full Score)A Whole New World (from Aladdin) (arr. Robert Longfield) - FluteA Whole New World (from Aladdin) (arr. Robert Longfield) - OboeA Whole New World (from Aladdin) (arr. Robert Longfield) - BassoonA Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Clarinet 2A Whole New World (from Aladdin) (arr. Robert Longfield) - Eb Alto Saxophone 1A Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Clarinet 1A Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Bass ClarinetA Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Tenor SaxophoneA Whole New World (from Aladdin) (arr. Robert Longfield) - Eb Baritone SaxophoneA Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Trumpet 2A Whole New World (from Aladdin) (arr. Robert Longfield) - Eb Alto Saxophone 2A Whole New World (from Aladdin) (arr. Robert Longfield) - F HornA Whole New World (from Aladdin) (arr. Robert Longfield) - Baritone T.C.A Whole New World (from Aladdin) (arr. Robert Longfield) - Mallet PercussionA Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Trumpet 1A Whole New World (from Aladdin) (arr. Robert Longfield) - Percussion 2A Whole New World (from Aladdin) (arr. Robert Longfield) - Trombone/Baritone B.C.A Whole New World (from Aladdin) (arr. Robert Longfield) - TubaA Whole New World (from Aladdin) (arr. Robert Longfield) - Percussion 1A Whole New World (from Aladdin) (arr. Robert Longfield) - Timpani
Digital Pack includes
:
A Whole New World (from Aladdin) (arr. Robert Longfield) - Conductor Score (Full Score)
A Whole New World (from Aladdin) (arr. Robert Longfield) - Flute
A Whole New World (from Aladdin) (arr. Robert Longfield) - Oboe
A Whole New World (from Aladdin) (arr. Robert Longfield) - Bassoon
A Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Clarinet 2
A Whole New World (from Aladdin) (arr. Robert Longfield) - Eb Alto Saxophone 1
A Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Clarinet 1
A Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Bass Clarinet
A Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Tenor Saxophone
A Whole New World (from Aladdin) (arr. Robert Longfield) - Eb Baritone Saxophone
A Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Trumpet 2
A Whole New World (from Aladdin) (arr. Robert Longfield) - Eb Alto Saxophone 2
A Whole New World (from Aladdin) (arr. Robert Longfield) - F Horn
A Whole New World (from Aladdin) (arr. Robert Longfield) - Baritone T.C.
A Whole New World (from Aladdin) (arr. Robert Longfield) - Mallet Percussion
A Whole New World (from Aladdin) (arr. Robert Longfield) - Bb Trumpet 1
A Whole New World (from Aladdin) (arr. Robert Longfield) - Percussion 2
A Whole New World (from Aladdin) (arr. Robert Longfield) - Trombone/Baritone B.C.
A Whole New World (from Aladdin) (arr. Robert Longfield) - Tuba
A Whole New World (from Aladdin) (arr. Robert Longfield) - Percussion 1
A Whole New World (from Aladdin) (arr. Robert Longfield) - Timpani
$45.00
41.07 €
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Orchestre d'harmonie
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Robert Longfield
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A Whole New World
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Hal Leonard - Digital
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SheetMusicPlus
10 wonderful TANGOS for guitar by Roberto Pugliese - Volumen 4
Guitare notes et tablatures
Guitar Tab - Advanced Intermediate - Digital Download Composed by A compilation. Ar…
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Guitar Tab - Advanced Intermediate - Digital Download Composed by A compilation. Arranged by Roberto Pugliese. 20th Century, South American. Individual Part, Score, Tablature. 63 pages. Published by Roberto Pugliese
Una compilación de 10 tangos arreglados y publicados por el maestro argentino: Roberto Pugliese. Diez tangos que permiten dada su alta calidad guitarrística incorporarlos en cualquier concierto de guitarra solista (segunda parte en TAB System). Certificado al 100%. "Con ellos viajé a 32 países en el mundo y dí conciertos en mas de 600 ciudades". Roberto Pugliese - A compilation of 10 tangos arranged and published by the Argentine master Roberto Pugliese. Ten tangos that allow given its high quality classical guitar incorporate them into any show solo guitar concert. Certificate 100%. "With them I traveled to 32 countries in the world and gave concerts in more than 600 cities." Roberto Pugliese.(Second part has TAB System) The list: Milonga sentimental - milonga (Piana-Manzi) - Afiches - tango (Mores- Contursi) - Barrio de tango - tango (Troilo) - El ultimo organito - tango (Manzi) La gayola - tango (Di Cicco) - La luz de un fosforo - tango (Canaro-Amadori) - Mi Bs As querido - tango (Gardel-Lepera) - Pompa de jabon - tango (Goyoneche-Cadicamo) - Tres esquinas - vals (D'agostino-Cadicamo) - 9 puntos - tango (Canaro) ***Watch the playlist: https://www.youtube.com/playlist?list=PL47FhQjMw3y3OTS_KdIuq3WhvzIEhL0ILUna compilación de 10 tangos arreglados y publicados por el maestro argentino: Roberto Pugliese. Diez tangos que permiten dada su alta calidad guitarrística incorporarlos en cualquier concierto de guitarra solista (segunda parte en TAB System). Certificado al 100%. "Con ellos viajé a 32 países en el mundo y dí conciertos en mas de 600 ciudades". Roberto Pugliese - A compilation of 10 tangos arranged and published by the Argentine master Roberto Pugliese. Ten tangos that allow given its high quality classical guitar incorporate them into any show solo guitar concert. Certificate 100%. "With them I traveled to 32 countries in the world and gave concerts in more than 600 cities." Roberto Pugliese.(Second part has TAB System) The list: Milonga sentimental - milonga (Piana-Manzi) - Afiches - tango (Mores- Contursi) - Barrio de tango - tango (Troilo) - El ultimo organito - tango (Manzi) La gayola - tango (Di Cicco) - La luz de un fosforo - tango (Canaro-Amadori) - Mi Bs As querido - tango (Gardel-Lepera) - Pompa de jabon - tango (Goyoneche-Cadicamo) - Tres esquinas - vals (D'agostino-Cadicamo) - 9 puntos - tango (Canaro) ***Watch the playlist: https://www.youtube.com/playlist?list=PL47FhQjMw3y3OTS_KdIuq3WhvzIEhL0IL
$20.99
19.16 €
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Guitare notes et tablatures
#
A compilation
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Roberto Pugliese
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10 wonderful TANGOS for guitar by Roberto Pugliese - Volumen 4
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Roberto Pugliese
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SheetMusicPlus
10 wonderful TANGOS for guitar by Roberto Pugliese - Volumen 2
Guitare notes et tablatures
Guitar Tab - Digital Download Composed by A compilation. Arranged by Roberto Pugliese. 20t…
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Guitar Tab - Digital Download Composed by A compilation. Arranged by Roberto Pugliese. 20th Century, South American. Individual Part, Score, Tablature. 55 pages. Published by Roberto Pugliese
Una compilación de 10 tangos arreglados y publicados por el maestro argentino: Roberto Pugliese. Diez tangos que permiten dada su alta calidad guitarrística incorporarlos en cualquier concierto de guitarra solista (segunda parte en TAB System). Certificado al 100%. "Con ellos viajé a 32 países en el mundo y dí conciertos en mas de 600 ciudades". Roberto Pugliese - A compilation of 10 tangos arranged and published by the Argentine master Roberto Pugliese. Ten tangos that allow given its high quality classical guitar incorporate them into any show solo guitar concert. Certificate 100%. "With them I traveled to 32 countries in the world and gave concerts in more than 600 cities." Roberto Pugliese.(Second part has TAB System) The list: Adios muchachos - tango (Vedani-Sanders) - Corazón de oro - vals (Canaro) - El once - tango (Fresedo) - Fruta amarga - tango (Guitierrez-Manzi) Mañana zarpa un barco - tango (Demare - Manzi) - Mañanitas de Montmartre - tango (Demare) - Golondrinas - tango (Gardel-Lepera) - Tabaco - tango (Pontier-Contursi) - Milonguita - tango (Delfino-Linning) - Vida mia - tango (Fresedo) ***Watch the playlist_ https://www.youtube.com/playlist?list=PL47FhQjMw3y0GHDjiE1VCWs5-VB7NsePUUna compilación de 10 tangos arreglados y publicados por el maestro argentino: Roberto Pugliese. Diez tangos que permiten dada su alta calidad guitarrística incorporarlos en cualquier concierto de guitarra solista (segunda parte en TAB System). Certificado al 100%. "Con ellos viajé a 32 países en el mundo y dí conciertos en mas de 600 ciudades". Roberto Pugliese - A compilation of 10 tangos arranged and published by the Argentine master Roberto Pugliese. Ten tangos that allow given its high quality classical guitar incorporate them into any show solo guitar concert. Certificate 100%. "With them I traveled to 32 countries in the world and gave concerts in more than 600 cities." Roberto Pugliese.(Second part has TAB System) The list: Adios muchachos - tango (Vedani-Sanders) - Corazón de oro - vals (Canaro) - El once - tango (Fresedo) - Fruta amarga - tango (Guitierrez-Manzi) Mañana zarpa un barco - tango (Demare - Manzi) - Mañanitas de Montmartre - tango (Demare) - Golondrinas - tango (Gardel-Lepera) - Tabaco - tango (Pontier-Contursi) - Milonguita - tango (Delfino-Linning) - Vida mia - tango (Fresedo) ***Watch the playlist_ https://www.youtube.com/playlist?list=PL47FhQjMw3y0GHDjiE1VCWs5-VB7NsePU
$20.99
19.16 €
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Guitare notes et tablatures
#
A compilation
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Roberto Pugliese
#
10 wonderful TANGOS for guitar by Roberto Pugliese - Volumen 2
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Roberto Pugliese
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SheetMusicPlus
10 wonderful TANGOS for guitar by Roberto Pugliese - Volumen 5
Guitare notes et tablatures
Guitar Tab - Digital Download Composed by A compilation. Arranged by Roberto Pugliese. …
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Guitar Tab - Digital Download Composed by A compilation. Arranged by Roberto Pugliese. 20th Century, South American. Individual Part, Score, Tablature. 58 pages. Published by Roberto Pugliese
Una compilación de 10 tangos arreglados y publicados por el maestro argentino: Roberto Pugliese. Diez tangos que permiten dada su alta calidad guitarrística incorporarlos en cualquier concierto de guitarra solista (segunda parte en TAB System). Certificado al 100%. "Con ellos viajé a 32 países en el mundo y dí conciertos en mas de 600 ciudades". Roberto Pugliese - A compilation of 10 tangos arranged and published by the Argentine master Roberto Pugliese. Ten tangos that allow given its high quality classical guitar incorporate them into any show solo guitar concert. Certificate 100%. "With them I traveled to 32 countries in the world and gave concerts in more than 600 cities." Roberto Pugliese.(Second part has TAB System) The list: Volver - tango (Gardel-Lepera) - Clavel del aire - tango (Filiberto) - Como dos extraños - tango (Laurenz-Contursi) - Cristal - tango (Mores-Contursi) El adios - tango (Huergo) - Farolito de papel - tango (Lespes) - Gotitas little dots - milonga (Pugliese) - La pulpera de Santa Lucia - vals (Maciel) - Sollosos - tango (Fresedo) - Poema - tango (Bianco-Melfi) ***Watch the playlist: https://www.youtube.com/playlist?list=PL47FhQjMw3y0Wk_UhS9mgTVwrwXUm_0wnUna compilación de 10 tangos arreglados y publicados por el maestro argentino: Roberto Pugliese. Diez tangos que permiten dada su alta calidad guitarrística incorporarlos en cualquier concierto de guitarra solista (segunda parte en TAB System). Certificado al 100%. "Con ellos viajé a 32 países en el mundo y dí conciertos en mas de 600 ciudades". Roberto Pugliese - A compilation of 10 tangos arranged and published by the Argentine master Roberto Pugliese. Ten tangos that allow given its high quality classical guitar incorporate them into any show solo guitar concert. Certificate 100%. "With them I traveled to 32 countries in the world and gave concerts in more than 600 cities." Roberto Pugliese.(Second part has TAB System) The list: Volver - tango (Gardel-Lepera) - Clavel del aire - tango (Filiberto) - Como dos extraños - tango (Laurenz-Contursi) - Cristal - tango (Mores-Contursi) El adios - tango (Huergo) - Farolito de papel - tango (Lespes) - Gotitas little dots - milonga (Pugliese) - La pulpera de Santa Lucia - vals (Maciel) - Sollosos - tango (Fresedo) - Poema - tango (Bianco-Melfi) ***Watch the playlist: https://www.youtube.com/playlist?list=PL47FhQjMw3y0Wk_UhS9mgTVwrwXUm_0wn
$20.99
19.16 €
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Guitare notes et tablatures
#
A compilation
#
Roberto Pugliese
#
10 wonderful TANGOS for guitar by Roberto Pugliese - Volumen 5
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Roberto Pugliese
#
SheetMusicPlus
Away in a Manger (Solo/unison version)
Chorale Unison
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.998816 Composed by Robert A.…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.998816 Composed by Robert A. Howard. 20th Century,Advent,Christmas,Praise & Worship,Sacred. Score. 6 pages. Robert A. Howard #6083707. Published by Robert A. Howard (A0.998816). This is an original setting of the well-known Advent text, for use in worship or concerts at Christmas. The carol uses the octatonic scale and is primarily based on just two chords; triads on C and F sharp, each with added augmented fourths. This gives the music a mysterious and mystical quality, making this a very different version to Kirkpatrick's famous setting. The rocking back and forth of the two harmonies (with a striding bass line below) mimics the movement of Christ's crib. Each verse is texturally varied to maintain development and interest throughout. The piece is appropriate for virtually any standard and size of unison choir, including school, student, community, church and cathedral choirs, as well as for just solo voice. The accompaniment is quite pianistic but can be played/adapted on the organ.
$3.99
3.64 €
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Chorale Unison
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Robert A
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Away in a Manger
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Robert A. Howard
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SheetMusicPlus
Music for a Film Scene
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.998728 Composed by Robert A. Howard…
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Piano Solo - Level 2 - Digital Download SKU: A0.998728 Composed by Robert A. Howard. 20th Century,Film/TV,Standards. Score. 3 pages. Robert A. Howard #5298683. Published by Robert A. Howard (A0.998728). This short piece features dramatic music for an imaginary film scene. Repetitions of a two-chord rocking ostinato create considerable tension and a descending bass motif is developed throughout. Meanwhile, this main material is interrupted by statements of a stark bell-like idea in octaves. The piece is highly accessible and is appropriate for virtually any standard of pianist, including students and more advanced players.
$2.49
2.27 €
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Piano seul
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Robert A
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Music for a Film Scene
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Robert A. Howard
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SheetMusicPlus
A, B & C
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.998801 Composed by Robert A. Howard…
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Piano Solo - Level 5 - Digital Download SKU: A0.998801 Composed by Robert A. Howard. 20th Century,Classical,Contemporary,Contest,Festival,Instructional. Score. 8 pages. Robert A. Howard #6056443. Published by Robert A. Howard (A0.998801). A, B & C is a set of three related piano pieces. The work shares its title with, and relates to, an episode of the cult 1960's British TV series 'The Prisoner'. The music is conceived, in the manner of my other Prisoner-inspired pieces, almost to act as dramatic TV incidental music cues. The piece is highly accessible and is appropriate for advanced pianists, including students and professional players.
$5.99
5.47 €
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Piano seul
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Robert A
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A, B & C
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Robert A. Howard
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SheetMusicPlus
A Babe is Born (Solo version)
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.998770 Composed by Robert A.…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.998770 Composed by Robert A. Howard. 21st Century,Advent,Christmas,Praise & Worship,Sacred. Score. 4 pages. Robert A. Howard #5827849. Published by Robert A. Howard (A0.998770). This is a catchy, modal, folk-like carol for general use at Christmas, Advent and Epiphany, in worship or in concerts. The work is an accessible setting of the well-known 15th Century text, in English, as an alternative to other versions. This piece is appropriate for virtually any standard of soloist. The advanced accompaniment is best suited to piano but can be adapted for organ. The original 4-part SATB version of this piece by the composer, as well as SA choir, and unison voices versions, are also available via Sheet Music Plus.
$1.99
1.82 €
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Piano, Voix
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Robert A
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A Babe is Born
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Robert A. Howard
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SheetMusicPlus
A Babe is Born (Unison version)
Chorale Unison
Choral Choir,Choral (Unison) - Level 2 - Digital Download SKU: A0.998767 Composed b…
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Choral Choir,Choral (Unison) - Level 2 - Digital Download SKU: A0.998767 Composed by Robert A. Howard. 21st Century,Advent,Christmas,Praise & Worship,Sacred. 2 pages. Robert A. Howard #5800621. Published by Robert A. Howard (A0.998767). This is a catchy, modal, folk-like carol for general use at Christmas, Advent and Epiphany, in worship or in concerts. The work is an accessible setting of the well-known 15th Century text, in English, as an alternative to other versions. This piece is appropriate for virtually any standard and size of unison choir, including school, student, community, church and cathedral choirs. The first verse can be sung by any soloist (optional). The advanced accompaniment is best suited to piano but can be adapted for organ. The original 4-part SATB version of this piece by the composer, as well as versions for SA Choir, and for solo voice, are also available via Sheet Music Plus. Duration: 2 minutes.
$1.99
1.82 €
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Chorale Unison
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Robert A
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A Babe is Born
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Robert A. Howard
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SheetMusicPlus
A Babe is Born (SATB version)
Chorale SATB
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.998713 Composed by …
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.998713 Composed by Robert A. Howard. 21st Century,Advent,Christmas,Praise & Worship,Sacred. 6 pages. Robert A. Howard #4847179. Published by Robert A. Howard (A0.998713). This is a catchy, modal, folk-like carol for general use at Christmas, Advent and Epiphany, in worship or in concerts. The work is an accessible setting of the well-known 15th Century text, in English, as an alternative to other versions. This piece is appropriate for virtually any standard and size of 4-part choir, including school, student, community, church and cathedral choirs. The first verse can be sung by any soloist (optional). The advanced accompaniment is best suited to piano but can be adapted for organ.
$2.99
2.73 €
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Chorale SATB
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Robert A
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A Babe is Born
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Robert A. Howard
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SheetMusicPlus
A Babe is Born (SA version)
Chorale 2 parties
Choral Choir,Choral (SA) - Level 2 - Digital Download SKU: A0.998766 Composed by Ro…
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Choral Choir,Choral (SA) - Level 2 - Digital Download SKU: A0.998766 Composed by Robert A. Howard. 21st Century,Christmas,Contemporary,Praise & Worship,Sacred. 4 pages. Robert A. Howard #5800619. Published by Robert A. Howard (A0.998766). This is a catchy, modal, folk-like carol for general use at Christmas, Advent and Epiphany, in worship or in concerts. The work is an accessible setting of the well-known 15th Century text, in English, as an alternative to other versions. This piece is appropriate for virtually any standard and size of 2-part choir, including school, student, community, church and cathedral choirs. The first verse can be sung by any soloist (optional). The advanced accompaniment is best suited to piano but can be adapted for organ. The original 4-part SATB version of this piece by the composer, as well as versions for solo voice, and for unison voices, are also available via Sheet Music Plus.
$2.49
2.27 €
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Chorale 2 parties
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Robert A
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A Babe is Born
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Robert A. Howard
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SheetMusicPlus
I Could Write A Book
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1380093 By Jerry Bu…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1380093 By Jerry Butler. By Lorenz Hart and Richard Rodgers. Arranged by Geordie Roberts. A Cappella,Broadway,Jazz,Musical/Show,Standards. 6 pages. Geordie Roberts #964805. Published by Geordie Roberts (A0.1380093).
$2.00
1.83 €
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Chorale SATB
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Jerry Butler
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Geordie Roberts
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I Could Write A Book
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Geordie Roberts
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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
35.55 €
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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. 1
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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
9.45 €
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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
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
35.55 €
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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
Robert Orledge:Un Jour Affreux avec le Diable dans le beffroi for piano and narrator, based on themes from Debussy's "Le Diable dans le beffoir"
Piano Facile
Piano Solo, Narrator - Advanced - Digital Download Composed by Claude Debussy/Robert Orl…
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Piano Solo, Narrator - Advanced - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Recital, Spoken Word. Score. 30 pages. Published by Musik Fabrik Music Publishing
I owe an enormous debt of gratitude to the celebrated pianist Nicolas Horvath for enthusiastically bringing my Debussy works to public attention in their solo piano formats, both through his recent recitals across France and through this Naxos Grand Piano release (GP822). In some cases these are true piano pieces (like Toomai des éléphants), in others they are piano reductions of orchestral scores (like Fêtes galantes), while in others they are piano solos in their own right that also exist in orchestral versions (as in the incidental music for Le Roi Lear). Needless to say, most of these tracks are world première recordings, and this is certainly true of A Night in the House of Usher and its companion piece Un Jour affreux avec Le Diable dans le beffroi (?A Dreadful Day with the Devil in the Belfry?) which I arranged specially for Nicolas in November 2018 as a virtuosic, almost Lisztian paraphrase-fantasy. To remind us of the plot as the dramatic scenes unfold, Un Jour affreux avec le Diable dans le beffroi, like the start of No-ja-li) has a narrator (spoken in French by Florient Azoulay on the Grand Piano recording): [After an overture rising from the underworld, with a polka and a citation of a chldren?s folksong Savez vous plantez les choux?, a carillon rings out]: Hearing it, the Dutch villagers start to count, with the bells of the belfry / 1, 2, 3, 4, 5, 6, 7, 10, 8, 9, 11, and 12 / Perfect! / 13!?!/ The bell rang 13 times / 13! / The Devil is here where the clock should be! / Damn! / The bells are cracked. / The Devil laughs fit to burst / He pulls from the pocket of his coat, a small dancing master?s violin / ?My God!? says the devil ? and he tunes his violin slowly / The Devil leads the villagers in a fantastic and relentless jig [making jokes at the expense of concertos by Beethoven, Brahms and Tchaikovsky] / The Devil directs the villagers towards the canal ? where he jumps to the other side, laughing all the time / The villagers try to imitate him, but they fall into the water. / [In Part 2] the villagers are transported to a hedonistic and lively Italian village. They are similarly transformed: the men have crooked hats ? the women have wide open bodices! They dance a mad Tarantella / 1, 2, 3, 4, 5, 6, 7 and 13 / shouting ?Hey there! (Hola?) / Jean, the young hero, makes a fervent prayer to God against the Devil / The prayer is answered and the bell again rings normally! / The expression of the Devil changes: he shudders! / Everything goes black / The devil disappears in a brief red glow ? / And the carillon and the bells chime as usual / 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 / Perfect! / But the Devil?s grinning face ap- pears once again where the clock should be ? brieflyI owe an enormous debt of gratitude to the celebrated pianist Nicolas Horvath for enthusiastically
bringing my Debussy works to public attention in their solo piano formats, both through his recent
recitals across France and through this Naxos Grand Piano release (GP822). In some cases these are
true piano pieces (like Toomai des éléphants), in others they are piano reductions of orchestral scores
(like Fêtes galantes), while in others they are piano solos in their own right that also exist in orchestral
versions (as in the incidental music for Le Roi Lear). Needless to say, most of these tracks are world
première recordings, and this is certainly true of A Night in the House of Usher and its companion piece Un Jour affreux avec Le Diable dans le beffroi (?A Dreadful Day with the Devil in the Belfry?) which I arranged specially for Nicolas in November 2018 as a virtuosic, almost Lisztian paraphrase-fantasy. To remind us of the plot as the dramatic scenes unfold, Un Jour affreux avec le Diable dans le beffroi, like the start of No-ja-li) has a narrator (spoken in French by Florient Azoulay on the Grand Piano recording):
[After an overture rising from the underworld, with a polka and a citation of a chldren?s folksong Savez vous plantez les choux?, a carillon rings out]: Hearing it, the Dutch villagers start to count, with the bells of the belfry / 1, 2, 3, 4, 5, 6, 7, 10, 8, 9, 11, and 12 / Perfect! / 13!?!/ The bell rang 13 times / 13! / The Devil is here where the clock should be! / Damn! / The bells are cracked. / The Devil laughs fit to burst / He pulls from the pocket of his coat, a small dancing master?s violin / ?My God!? says the devil ? and he tunes his violin slowly / The Devil leads the villagers in a fantastic and relentless jig [making jokes at the expense of concertos by Beethoven, Brahms and Tchaikovsky] / The Devil directs the villagers towards the canal ? where he jumps to the other side, laughing all the time / The villagers try to imitate him, but they fall into the water. / [In Part 2] the villagers are transported to a hedonistic and lively Italian village. They are similarly transformed: the men have crooked hats ? the women have wide open bodices! They dance a mad Tarantella / 1, 2, 3, 4, 5, 6, 7 and 13 / shouting ?Hey there! (Hola?) / Jean, the young hero, makes a fervent prayer to God against the Devil / The prayer is answered and the bell again rings normally! / The expression of the Devil changes: he shudders! / Everything goes black / The devil disappears in a brief red glow ? / And the carillon and the bells chime as usual / 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 / Perfect! / But the Devil?s grinning face ap-
pears once again where the clock should be ? briefly
$19.95
18.21 €
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Piano Facile
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Claude Debussy/Robert Orledge
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Robert Orledge:Un Jour Affreux avec le Diable dans le beffroi for piano and narrator, based on themes from Debussy's "Le Diable dans le beffoir"
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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
18.21 €
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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
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