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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.61 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.61 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Clair De Lune- Debussy-Simplified version- Advanced intermediate
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by C Debussy. Arranged b…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by C Debussy. Arranged by Grant Horsley. Impressionistic, Repertoire, Anniversary, Wedding, Recital. Sheet Music Single. 8 pages. Published by Grant Horsley Music
Claire De Lune by Debussy- needs no words. I have arranged this firstly in the key of C. I tried to keep as much of the original as possible in terms of detail and some of the difficult octaves and hard to reach chords have been carefully arranged. What I wanted to do was to give intermediate pianists who were perhaps not quite ready for the full version, an opportunity to play a version of it, also for pianists who would appreciate a slightly modified approach. I didn't want an "easy" version as such,but one that retains the qualities of the original. It is a beautiful piece which can be used for concerts, recitals, weddings,celebrations etc I have listed this as Advanced intermediate, but it crosses the line to Intermediate on a number of ocassions.Claire De Lune by Debussy- needs no words.
I have arranged this firstly in the key of C. I tried to keep as much of the original as possible in terms of detail and some of the difficult octaves and hard to reach chords have been carefully arranged. What I wanted to do was to give intermediate pianists who were perhaps not quite ready for the full version, an opportunity to play a version of it, also for pianists who would appreciate a slightly modified approach.
I didn't want an "easy" version as such,but one that retains the qualities of the original. It is a beautiful piece which can be used for concerts, recitals, weddings,celebrations etc
I have listed this as Advanced intermediate, but it crosses the line to Intermediate on a number of ocassions.
$5.50
5.03 €
#
Piano seul
#
C Debussy
#
Grant Horsley
#
Clair De Lune- Debussy-Simplified version- Advanced intermediate
#
Grant Horsley Music
#
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…
(+)
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
4.56 €
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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
#
Diamond S Music
#
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
9.46 €
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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 and Satie Piano Favorites Collection - Piano Solo
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Claude Debussy, Erik Satie. Arr…
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Piano Solo - Intermediate - Digital Download Composed by Claude Debussy, Erik Satie. Arranged by Debussy, Satie. 20th Century, Romantic Period, Contemporary Classical, Impressionistic, Recital. 47 pages. Published by Diamond S Music
Debussy and Satie Piano Favorites Collection- Piano Solo. This is a collection of 9 popular Piano Solos by Claude Debussy and Erik Satie. The contents are: SATIE: Gymnopédie No. 1-3 DEBUSSY: Claire de Lune, Arabesques No. 1 and 2, Rêverie, and 2 pieces from ?The Children?s Corner? - Doctor Gradus ad Parnassum, and Golliwog?s Cakewalk. Also contains a short bio of each composer, Debussy and Satie. 41 pages of music. Debussy and Satie Piano Favorites Collection- Piano Solo. This is a collection of 9 popular Piano Solos by Claude Debussy and Erik Satie. The contents are: SATIE: Gymnopédie No. 1-3 DEBUSSY: Claire de Lune, Arabesques No. 1 and 2, Rêverie, and 2 pieces from ?The Children?s Corner? - Doctor Gradus ad Parnassum, and Golliwog?s Cakewalk. Also contains a short bio of each composer, Debussy and Satie. 41 pages of music.
$14.99
13.7 €
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Piano seul
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Claude Debussy, Erik Satie
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Debussy, Satie
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Debussy and Satie Piano Favorites Collection - Piano Solo
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SheetMusicPlus
Intermediate Classical Favorites - 10 Arrangements for Early to Mid-Intermediate Pianists
Piano seul
Piano Solo - Early Intermediate - Digital Download Composed by J.S. Bach, Pachelbel, Mo…
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Piano Solo - Early Intermediate - Digital Download Composed by J.S. Bach, Pachelbel, Mozart, Beethoven, Grieg, Debussy, Joplin. Arranged by Chrissy Ricker. Romantic Period, Classical Period, Baroque Period, Impressionistic, Ragtime. Sheet Music Single. 32 pages. Published by Chrissy Ricker
"Intermediate Classical Favorites" is a collection of 10 famous classical works arranged for early to mid-intermediate pianists (pianists in level 3-4 of most piano method books). See the companion video for a sheet music and audio sample of the first page of each piece in the collection. Included in this collection:Jesu, Joy of Man's Desiring (J. S. Bach), Canon in D (Pachelbel), Rondo alla Turca (Mozart), Theme from Sonata in A Major (Mozart), Für Elise (Beethoven), Moonlight Sonata (Beethoven), Opening Theme from Concerto in A Minor (Grieg), Reverie (Debussy), Clair de Lune (Debussy), and The Entertainer (Joplin). Like this collection but need something easier? Check out my "Easy Classical Favorites" and "More Easy Classical Favorites" collections here at Sheet Music Plus by clicking on my publisher name above! About the arranger: Chrissy Ricker is a Nationally Certified Teacher of Music (NCTM) with a Master's degree in piano performance and pedagogy. Chrissy enjoys composing and arranging music to motivate and challenge students of all ages. In addition to the works she publishes through SMP Press, Chrissy's piano music is also published by Kjos Music Company and Piano Pronto Publishing. Her music has appeared on the piano contest lists of many state and national teaching associations, including the National Federation of Music Clubs. Visit Chrissy's website at www.chrissyricker.com"Intermediate Classical Favorites" is a collection of 10 famous classical works arranged for early to mid-intermediate pianists (pianists in level 3-4 of most piano method books). See the companion video for a sheet music and audio sample of the first page of each piece in the collection.
Included in this collection:Jesu, Joy of Man's Desiring (J. S. Bach), Canon in D (Pachelbel), Rondo alla Turca (Mozart), Theme from Sonata in A Major (Mozart), Für Elise (Beethoven), Moonlight Sonata (Beethoven), Opening Theme from Concerto in A Minor (Grieg), Reverie (Debussy), Clair de Lune (Debussy), and The Entertainer (Joplin).
Like this collection but need something easier? Check out my "Easy Classical Favorites" and "More Easy Classical Favorites" collections here at Sheet Music Plus by clicking on my publisher name above!
About the arranger: Chrissy Ricker is a Nationally Certified Teacher of Music (NCTM) with a Master's degree in piano performance and pedagogy. Chrissy enjoys composing and arranging music to motivate and challenge students of all ages. In addition to the works she publishes through SMP Press, Chrissy's piano music is also published by Kjos Music Company and Piano Pronto Publishing. Her music has appeared on the piano contest lists of many state and national teaching associations, including the National Federation of Music Clubs. Visit Chrissy's website at www.chrissyricker.com
$9.99
9.13 €
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Piano seul
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J
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Chrissy Ricker
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Intermediate Classical Favorites - 10 Arrangements for Early to Mid-Intermediate Pianists
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Chrissy Ricker
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SheetMusicPlus
Arabesque No. 1 - Debussy (Intermediate Piano)
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1397215 By Claude Debussy. By Claud…
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Piano Solo - Level 3 - Digital Download SKU: A0.1397215 By Claude Debussy. By Claude Debussy. Arranged by PianoForEveryone. 19th Century,Classical,Romantic Period. Score. 7 pages. PianoForEveryone #980530. Published by PianoForEveryone (A0.1397215). An intermediate piano arrangement of Debussy's 'Arabesque No. 1.' The voicing has been reduced whilst still retaining the melody. About the arranger: I have been playing and teaching piano for over 20 years, and hold a degree in music from Oxford University. I'm on a mission to make piano accessible to everyone who wants to enjoy the beauty of playing.
$1.99
1.82 €
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Piano seul
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Claude Debussy
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PianoForEveryone
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Arabesque No. 1 - Debussy
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PianoForEveryone
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SheetMusicPlus
Clair de Lune - Debussy (Intermediate Piano)
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1107499 By Claude Debussy. By Claud…
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Piano Solo - Level 3 - Digital Download SKU: A0.1107499 By Claude Debussy. By Claude Debussy. Arranged by PianoForEveryone. 20th Century,Classical. Score. 4 pages. PianoForEveryone #710165. Published by PianoForEveryone (A0.1107499). An intermediate piano arrangement of Claude Debussy's 'Clair de Lune.' The key has been transposed down a semitone to simplify, and voices reduced whilst still retaining the original melody. About the arranger: I have been playing and teaching piano for over 20 years, and hold a degree in music from Oxford University. I'm on a mission to make piano accessible to everyone who wants to enjoy the beauty of playing.
$1.99
1.82 €
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Piano seul
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Claude Debussy
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PianoForEveryone
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Clair de Lune - Debussy
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PianoForEveryone
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SheetMusicPlus
The Girl With the Flaxen Hair - Debussy (Intermediate Piano)
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1197453 By Claude Debussy. By Claud…
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Piano Solo - Level 3 - Digital Download SKU: A0.1197453 By Claude Debussy. By Claude Debussy. Arranged by PianoForEveryone. 20th Century,Classical. Score. 4 pages. PianoForEveryone #796625. Published by PianoForEveryone (A0.1197453). An intermediate piano arrangement of Debussy's 'The Girl With the Flaxen Hair.' The key has been transposed, and some voicing removed, whilst still retaining the melody, bass and important harmony from the original. About the arranger: I have been playing and teaching piano for over 20 years, and hold a degree in music from Oxford University. I'm on a mission to make piano accessible to everyone who wants to enjoy the beauty of playing.
$1.99
1.82 €
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Piano seul
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Claude Debussy
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PianoForEveryone
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The Girl With the Flaxen Hair - Debussy
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PianoForEveryone
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SheetMusicPlus
ARABESQUE No.2 (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790109 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.790109 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century. Score. 9 pages. Diamond S Music #3622501. Published by Diamond S Music (A0.790109). ARABESQUE No.2 (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO. This contains ONLY Arabesque No.1. The Two Arabesques, L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. These are a favorite of intermediate and advanced pianist alike. No.1 in E major begins with the familiar impressionistic cascading arpeggios. No. 2 in G major being with lively right hand trills in a style more closely resembles some of Debussy's later works. Arabesques No.1 & No. 2 can also be purchased separately or Both together in the set. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.50
4.11 €
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Piano seul
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Claude Debussy
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Diamond S Music
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No
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ARABESQUE No.2
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Diamond S Music
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SheetMusicPlus
ARABESQUE No.1 in E Major (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790108 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.790108 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 9 pages. Diamond S Music #3622487. Published by Diamond S Music (A0.790108). ARABESQUE No.1 in E Major (from Deux Arabesques) by CLAUDE DEBUSSY for PIANO SOLO. This contains ONLY Arabesque No.1. The Two Arabesques, L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. These are a favorite of intermediate and advanced pianist alike. No.1 in E major begins with the familiar impressionistic cascading arpeggios. No. 2 in G major being with lively right hand trills in a style more closely resembles some of Debussy's later works. Arabesques No.1 & No. 2 can also be purchased separately or Both together in the set. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.50
4.11 €
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Piano seul
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Claude Debussy
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Diamond S Music
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No
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ARABESQUE No.1 in E Major
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Diamond S Music
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SheetMusicPlus
Arabesque No. 1 (Debussy) with piano fingering
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.553102 Composed by Claude Debussy. …
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Piano Solo - Level 3 - Digital Download SKU: A0.553102 Composed by Claude Debussy. Arranged by Scott Camp. 20th Century,Concert,Standards,Wedding. Score. 10 pages. Scott Camp #4303545. Published by Scott Camp (A0.553102). Beautiful piano music by Claude Debussy. This edition includes fingering so that students can spend their time reinforcing proper technique, rather than struggling to figure out the correct fundamental technique of fingering and hand positions. This edition will not enable a beginner to play a beautiful performance of Debussy. However, this edition will enable the appropriate Intermediate Level pianist who knows and loves the sound of this piece to succeed. This student needs to reinforce the proper fingering and technique, not figure it out. This student know this piece is legato throughout, and understands how to apply the damper pedal appropriately. This student is motivated by the beauty of this piece, and Impressionism in general. The editing principle is to present and clarify the information that the student does not already know for themselves. For this reason, traditional slurs are not included. This is not Mozart, Beethoven, or Bach. This is Impressionism. Debussy requires harmonic clarity by means of the damper (sustain) pedal and smooth (legato) melodic execution by means of the proper fingering. Pedal indications are not included because this piece is not appropriate for use as the introduction to the pedal. Slurs are not included because, with the correct fingering included, students will automatically achieve a legato performance.
$3.99
3.65 €
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Piano seul
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Claude Debussy
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Scott Camp
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Arabesque No. 1
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Scott Camp
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SheetMusicPlus
DEUX ARABESQUES (2 Arabesques) by CLAUDE DEBUSSY for PIANO SOLO
Piano seul
Piano Solo - Digital Download SKU: A0.790107 Composed by Claude Debussy. Arranged b…
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Piano Solo - Digital Download SKU: A0.790107 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 16 pages. Diamond S Music #3622481. Published by Diamond S Music (A0.790107). DEUX ARABESQUES (2 Arabesques) by CLAUDE DEBUSSY for PIANO SOLO. This contains both Arabesque No.1 & No.2 as a set. The Two Arabesques, L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. These are a favorite of intermediate and advanced pianist alike. No.1 in E major begins with the familiar impressionistic cascading arpeggios. No. 2 in G major being with lively right hand trills in a style more closely resembles some of Debussy's later works. Arabesques No.1 & No. 2 can also be purchased separately. Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$8.50
7.77 €
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Piano seul
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Claude Debussy
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Diamond S Music
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No
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DEUX ARABESQUES
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Diamond S Music
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SheetMusicPlus
Debussy : Les plus beaux morceaux de Debussy pour piano, Intermédiaire/Difficile, Vol. 1
Piano seul
Téléchargez la partition Piano Les plus beaux morceaux de Debussy pour piano…
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Téléchargez la partition Piano Les plus beaux morceaux de Debussy pour piano, Intermédiaire-Difficile, Vol. 1. Partition pour Piano seul -- Classique
19.99 €
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Piano seul
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Debussy
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Les plus beaux morceaux de Deb
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Tomplay
Debussy : Les plus beaux morceaux de Debussy à jouer au piano, Intermédiaire, Vol. 1
Piano seul
Téléchargez la partition Piano Les plus beaux morceaux de Debussy à j…
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Téléchargez la partition Piano Les plus beaux morceaux de Debussy à jouer au piano, Intermédiaire, Vol. 1. Partition pour Piano seul -- Classique
16.99 €
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Piano seul
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Debussy
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Les plus beaux morceaux de Deb
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Tomplay
Debussy : Les plus beaux morceaux de Debussy à jouer au piano, Intermédiaire, Vol. 2
Piano seul
Téléchargez la partition Piano Les plus beaux morceaux de Debussy à j…
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Téléchargez la partition Piano Les plus beaux morceaux de Debussy à jouer au piano, Intermédiaire, Vol. 2. Partition pour Piano seul -- Classique
16.99 €
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Piano seul
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Debussy
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Les plus beaux morceaux de Deb
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Tomplay
"La Plus Que Lente" C. Debussy- Piano solo- Simplified version
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.785722 Composed by C Debussy. Arran…
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Piano Solo - Level 4 - Digital Download SKU: A0.785722 Composed by C Debussy. Arranged by Grant Horsley. Classical,Instructional,Romantic Period,Standards,Wedding. Score. 10 pages. Grant Horsley #5982449. Published by Grant Horsley (A0.785722). I have arranged this this timeless classic for piano in a number of ways to make it manageable.Most important of all, it is in the key of G major as a key signature of one sharp is more readable than the original of 6 flats. I've also taken a lot of quaver octaves out but left the necessary ones in to add to the power of the appassionato section- I've left other octaves in, where the music is less demanding, and I've also divided some areas into both hands which are difficult for one hand.I've added a small amount of fingering to the score to assist in tricky areas, but I wanted to keep the whole piece as close to the original as possible It is 9 pages long- 5 min 30.It has been placed at advanced intermediate, although lots of areas are manageable by a competent intermediate player. The youtube link has the whole score for you to judge.This piece is perfect for concerts, recitals, weddings, solo instrumental occasions, repertoire, technique and training.
$5.50
5.03 €
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Piano seul
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C Debussy
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Grant Horsley
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"La Plus Que Lente" C. Debussy- Piano solo- Simplified version
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Grant Horsley
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SheetMusicPlus
"Sarabande" From Pour le Piano- C. Debussy- Solo Piano. Simplified Version
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.785742 Composed by C Debussy. Arran…
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Piano Solo - Level 3 - Digital Download SKU: A0.785742 Composed by C Debussy. Arranged by Grant Horsley. 20th Century,Standards,Wedding. Score. 5 pages. Grant Horsley #6058137. Published by Grant Horsley (A0.785742). This is an easier arrangement of this very well known and loved piece by Debussy.I wanted to give pianists an opportunity to play a simpler version if they were not quite ready for the original.Firstly, I have arranged it in the key of F major from the original E for ease of reading. Secondly, the very big chords in each hand have been economised carefully so to produced the nearest effect of the original. Thirdly, some original areas have now been divided between the hands for simplicity.It is 5 minutes long-Intermediate level/associated board grade 6.Great piece for concerts, weddings, recitals, incidental music, relaxation etc.
$5.25
4.8 €
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Piano seul
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C Debussy
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Grant Horsley
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"Sarabande" From Pour le Piano- C. Debussy- Solo Piano. Simplified Version
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Grant Horsley
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SheetMusicPlus
Clair de Lune / Claude Debussy / Alvin Funcraft
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.946196 Composed by Claude Debussy. …
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Piano Solo - Level 2 - Digital Download SKU: A0.946196 Composed by Claude Debussy. Arranged by Alvin Funcraft. Romantic Period. Score. 11 pages. Alvin Funcraft #6169423. Published by Alvin Funcraft (A0.946196). An arrangement of Debussy's popular piano piece for early-intermediate pianists.Written in C major instead of D-flat major, this retains the flavour of the original but in a more accessible form.
$4.49
4.1 €
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Piano seul
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Claude Debussy
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Alvin Funcraft
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Clair de Lune / Claude Debussy / Alvin Funcraft
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Alvin Funcraft
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SheetMusicPlus
Le Petit Negre The Little Nigar (Grade 5) DEBUSSY Intermediate Piano with note names
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1241169 Composed by Claude Debussy.…
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Piano Solo - Level 3 - Digital Download SKU: A0.1241169 Composed by Claude Debussy. Arranged by Teacher Valarie. 19th Century,20th Century,21st Century,Children,Contemporary. Score. 4 pages. Published Harmony Valarie #836563. Published by Published Harmony Valarie (A0.1241169). Easy for students to learn and also easy for teachers to teacher, in person or online lessons. Grear for performances, videos, shorts, recitals, concerts and competitions. Added note names, performances details and meanings.
$4.99
4.56 €
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Piano seul
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Claude Debussy
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Teacher Valarie
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Le Petit Negre The Little Nigar
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Published Harmony Valarie
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SheetMusicPlus
Debussy : Petite Suite, L.65 - N° 1 En bateau (niveau intermédiaire)
Piano seul
Téléchargez la partition Piano Petite Suite, L.65 - N° 1 En bateau (niveau intermédiai…
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Téléchargez la partition Piano Petite Suite, L.65 - N° 1 En bateau (niveau intermédiaire) de Debussy. Partition pour Piano seul -- Classique
5.99 €
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Piano seul
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Debussy
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Petite Suite, L.65
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Tomplay
Debussy : Petite Suite, L.65 - N° 1 En bateau (niveau intermédiaire/difficile)
Piano seul
Téléchargez la partition Piano Petite Suite, L.65 - N° 1 En bateau (niveau intermédiai…
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Téléchargez la partition Piano Petite Suite, L.65 - N° 1 En bateau (niveau intermédiaire/difficile) de Debussy. Partition pour Piano seul -- Classique
5.99 €
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Piano seul
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Debussy
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Petite Suite, L.65
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Tomplay
"Cakewalk" from Children's Corner- Debussy. Solo Piano- Simplified version
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.785747 Composed by C Debussy. Arran…
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Piano Solo - Level 4 - Digital Download SKU: A0.785747 Composed by C Debussy. Arranged by Grant Horsley. 20th Century,Instructional,Standards,Wedding. Score. 7 pages. Grant Horsley #6069191. Published by Grant Horsley (A0.785747). Cakewalk-No 4 from Children's Corner has been carefully arranged here to enable more pianists to play it.I have arranged it into the key of G major from E Flat for ease of reading. Some difficult to negotiate areas have now been re- voiced and large stretches avoided. I've also limited the jumping of the left hand.It's a great piece to play and add to a repertoire list-Â 6 pages long- around 3 minutes in length- Advanced IntermediateThe Whole score is on the youtube link for you to assess suitability.Works very well for concerts, recitals, weddings, background, incidental music etc.
$5.00
4.57 €
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Piano seul
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C Debussy
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Grant Horsley
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"Cakewalk" from Children's Corner- Debussy. Solo Piano- Simplified version
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Grant Horsley
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SheetMusicPlus
Idylle, à Debussy
Piano seul
Piano - intermediate - Digital Download SKU: S9.Q23157 From: Next-to-last-though…
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Piano - intermediate - Digital Download SKU: S9.Q23157 From: Next-to-last-thoughts, No. 1. Composed by Erik Satie. Edited by Monika Twelsiek. This edition: Sheet music. Copyright 2008 Schott Music GmbH & Co. KG, Mainz. Downloadable. 2 pages. Schott Music - Digital #Q23157. Published by Schott Music - Digital (S9.Q23157). Digital publication of the piece found in the following print music collection: Impressionism - 21 Piano Pieces around Debussy.
$2.99
2.73 €
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Piano seul
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Erik Satie
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Idylle, à Debussy
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Schott Music - Digital
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SheetMusicPlus
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