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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Others advanced
Non classifié
88
Piano & claviers
Piano seul
114
Piano Facile
7
Instruments en Do
6
Orgue
4
1 Piano, 4 mains
2
Piano Trio: piano, violon, violoncelle
2
Accompagnement Piano
1
Piano, Voix et Guitare
1
2 Pianos, 8 mains
1
Piano, Voix
1
+ 5 instrumentations
Retracter
Guitares
Guitare
16
Guitare notes et tablatures
10
Basse electrique
9
Banjo
3
Ukulele
2
Dulcimer
2
2 Guitares (duo)
1
4 Guitares (Quatuor)
1
Dobro
1
Ensemble de guitares
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
12
Chorale 3 parties
4
Voix haute
3
Voix duo
2
Voix Tenor
1
Chorale SSAATTBB
1
Chorale TTBB
1
+ 2 instrumentations
Retracter
Vents
Saxophone
51
Flûte traversière
22
Clarinette
21
2 Saxophones (duo)
9
2 Clarinettes (duo)
7
Saxophone, Clarinette (duo)
6
Quatuor de Clarinettes: 4 clarinettes
6
Saxophone Alto
5
Saxophone Tenor
4
2 Flûtes traversières (duo)
4
Clarinette et Piano
4
Flûte, Clarinette (duo)
4
Hautbois, Piano (duo)
4
Saxophone Alto et Piano
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Ensemble de Clarinettes
3
Ensemble de Flûtes
3
Saxophone Tenor et Piano
2
Clarinette, Violon (duo)
2
Clarinette et Alto
2
Clarinette, Trompette (duo)
2
Flûte, Hautbois, Clarinette, Basson
2
Flûte, Saxophone (duo)
2
Flûte, Clarinette et Basson
2
Hautbois, Basson (duo)
2
Saxophone Soprano
2
Hautbois, Clarinette (duo)
2
Flûte à Bec
2
Flûte, Violon
2
Flûte traversière et Piano
2
Hautbois, Flûte
1
Flûte, Alto (duo)
1
Flûte et Guitare
1
Flûte, Violoncelle
1
3 Saxophones (trio)
1
Flûte, Trompette (duo)
1
Flûte à bec Soprano
1
Saxophone Soprano et Piano
1
3 Clarinettes (trio)
1
Trio de Flûtes: 3 flûtes
1
2 Hautbois (duo)
1
Quintette de Saxophone: 5 saxophones
1
Quatuor de Saxophones: 4 saxophones
1
Flûte à bec Alto, Basse continue
1
+ 39 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
39
Trompette
27
Ensemble de Trompettes
26
Trombone
23
Trompette, Piano
6
Ensemble de Trombones
6
Trombone et Piano
4
Ensemble de Cors
4
2 Trompettes (duo)
3
Quatuor de cuivres: 4 trombones
3
Euphonium, Piano (duo)
3
Trompette, Saxophone (duo)
2
2 Trombones (duo)
2
3 Trombones (trio)
1
Trombone, Tuba (duo)
1
Trompette, Trombone (duo)
1
Trompette (partie séparée)
1
Tuba
1
Quatuor de cuivres: 4 cors
1
Trombone basse et Piano
1
Cor
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
2 Tubas (duo)
1
+ 18 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
15
Violon et Piano
7
Trio à Cordes: violon, alto, violoncelle
6
2 Violons (duo)
4
Violon, Violoncelle (duo)
3
Violon
3
Violoncelle
2
Violon, Alto (duo)
2
Alto, Piano
2
2 Violoncelles (duo)
2
Violoncelle, Piano
2
2 Altos (duo)
1
Violoncelle, Contrebasse (duo)
1
Ensemble de Violoncelles
1
Contrebasse, Piano (duo)
1
Alto seul
1
Quatuor à cordes : 4 altos
1
Harpe, Violon (duo)
1
Violoncelle, Orgue
1
Trio à Cordes: 2 violons, alto
1
+ 15 instrumentations
Retracter
Orchestre & Percussions
Batterie
20
Ensemble de cuivres
11
Orchestre à Cordes
10
Ensemble Jazz
8
Orchestre d'harmonie
3
Ensemble de Percussions
2
Orchestre de chambre
2
Orchestre
2
Percussion
1
Xylophone, Piano
1
+ 5 instrumentations
Retracter
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CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
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LUTH, THEOR…
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OUD
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PERCU. ORCH…
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
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VIOLON
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ENFANTS : EVEIL - IN…
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
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Others advanced
Piano seul
Partitions à imprimer
114 partitions trouvées
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101
Bohemian Folk Song (advanced piano solo)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.773806 Composed by Traditional. Arr…
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Piano Solo - Level 4 - Digital Download SKU: A0.773806 Composed by Traditional. Arranged by Anthony Giamanco. Concert,Contemporary,Instructional,Standards. Score. 7 pages. Whole Tone Press #5710401. Published by Whole Tone Press (A0.773806). This advanced piano solo, reminiscent of the folk song arrangements of Bartok, is essentially a set of variations which culminates in a fiery climax. An ideal recital piece! Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com, Sheet Music Marketplace, and JW Pepper. Anthony's music can be heard on his website, anthonygiamanco.com, on SoundCloud (https://soundcloud.com/tony-giamanco), and on his YouTube channel (https://www.youtube.com/channel/UC09EezLz7GUoMhNrc5Y8jBg) Contact info:tony@shalomlife.org.
$3.50
3.23 €
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Piano seul
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Traditional
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Anthony Giamanco
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Bohemian Folk Song
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Whole Tone Press
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SheetMusicPlus
Advanced Intermediate Piano - Leapfrog
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.767436 Composed by Mike Lyons. Cont…
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Piano Solo - Level 4 - Digital Download SKU: A0.767436 Composed by Mike Lyons. Contemporary,Instructional,Standards. Score. 1 pages. Lyons Music Services #3873409. Published by Lyons Music Services (A0.767436). As part of my new series of music for easy piano. this is a simple dance tune in 3/4, but not a waltz. If anything, it's more like a German Ländler. This is a more demanding and complex piece than others, which will require good finger coordination. In the intro, the hands are very close together, with some crossing. I have classed this as an advanced intermediate piece because of this.
$2.50
2.3 €
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Piano seul
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Mike Lyons
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Advanced Intermediate Piano - Leapfrog
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Lyons Music Services
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SheetMusicPlus
Robert Johnson : The Blues Brothers - Sweet Home Chicago (niveau avancé, piano solo)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (nive…
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Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (niveau avancé, piano solo) de Robert Johnson. Partition pour Piano seul -- Musique de film
4.99 €
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Piano seul
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Robert Johnson
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The Blues Brothers
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Tomplay
Robert Johnson : The Blues Brothers - Sweet Home Chicago (niveau difficile, piano solo)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (nive…
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Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (niveau difficile, piano solo) de Robert Johnson. Partition pour Piano seul -- Musique de film
4.99 €
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Piano seul
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Robert Johnson
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The Blues Brothers
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Tomplay
Robert Johnson : The Blues Brothers - Sweet Home Chicago (niveau intermédiaire/difficile, piano solo)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (nive…
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Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (niveau intermédiaire/difficile, piano solo) de Robert Johnson. Partition pour Piano seul -- Musique de film
4.99 €
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Piano seul
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Robert Johnson
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The Blues Brothers
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Tomplay
Robert Johnson : The Blues Brothers - Sweet Home Chicago (niveau intermédiaire/difficile, avec orchestre)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (nive…
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Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (niveau intermédiaire/difficile, avec orchestre) de Robert Johnson. Partition pour Piano avec accomp. orchestre -- Musique de film
5.99 €
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Piano seul
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Robert Johnson
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The Blues Brothers
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Tomplay
Robert Johnson : The Blues Brothers - Sweet Home Chicago (niveau avancé, avec orchestre)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (nive…
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Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (niveau avancé, avec orchestre) de Robert Johnson. Partition pour Piano avec accomp. orchestre -- Musique de film
5.99 €
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Piano seul
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Robert Johnson
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The Blues Brothers
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Tomplay
Robert Johnson : The Blues Brothers - Sweet Home Chicago (niveau difficile, avec orchestre)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (nive…
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Téléchargez la partition Piano The Blues Brothers - Sweet Home Chicago (niveau difficile, avec orchestre) de Robert Johnson. Partition pour Piano avec accomp. orchestre -- Musique de film
5.99 €
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Piano seul
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Robert Johnson
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The Blues Brothers
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Tomplay
Cab Calloway : The Blues Brothers - Minnie the Moocher (niveau difficile, piano solo)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (nive…
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Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (niveau difficile, piano solo) de Cab Calloway. Partition pour Piano seul -- Musique de film - Movie / TV
5.99 €
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Piano seul
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Cab Calloway
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The Blues Brothers
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Tomplay
Cab Calloway : The Blues Brothers - Minnie the Moocher (niveau difficile, avec orchestre)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (nive…
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Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (niveau difficile, avec orchestre) de Cab Calloway. Partition pour Piano avec accomp. orchestre -- Musique de film - Movie / TV
5.99 €
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Piano seul
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Cab Calloway
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The Blues Brothers
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Tomplay
Cab Calloway : The Blues Brothers - Minnie the Moocher (niveau avancé, piano solo)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (nive…
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Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (niveau avancé, piano solo) de Cab Calloway. Partition pour Piano seul -- Musique de film - Movie / TV
5.99 €
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Piano seul
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Cab Calloway
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The Blues Brothers
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Tomplay
Cab Calloway : The Blues Brothers - Minnie the Moocher (niveau avancé, avec orchestre)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (nive…
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Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (niveau avancé, avec orchestre) de Cab Calloway. Partition pour Piano avec accomp. orchestre -- Musique de film - Movie / TV
5.99 €
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Piano seul
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Cab Calloway
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The Blues Brothers
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Tomplay
Cab Calloway : The Blues Brothers - Minnie the Moocher (niveau intermédiaire/difficile, piano solo)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (nive…
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Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (niveau intermédiaire/difficile, piano solo) de Cab Calloway. Partition pour Piano seul -- Musique de film - Movie / TV
5.99 €
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Piano seul
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Cab Calloway
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The Blues Brothers
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Tomplay
Cab Calloway : The Blues Brothers - Minnie the Moocher (niveau intermédiaire/difficile, avec orchestre)
Piano seul
Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (nive…
(+)
Téléchargez la partition Piano The Blues Brothers - Minnie the Moocher (niveau intermédiaire/difficile, avec orchestre) de Cab Calloway. Partition pour Piano avec accomp. orchestre -- Musique de film - Movie / TV
5.99 €
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Piano seul
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Cab Calloway
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The Blues Brothers
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Tomplay
The Righteous Brothers : Unchained Melody (niveau difficile, voix Bill Medley, acc. piano et orchestre)
Piano seul
Téléchargez la partition Piano Unchained Melody (niveau difficile, voix Bill…
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Téléchargez la partition Piano Unchained Melody (niveau difficile, voix Bill Medley, acc. piano et orchestre) de The Righteous Brothers. Partition pour Piano avec accomp. orchestre -- Pop/rock
5.99 €
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Piano seul
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The Righteous Brothers
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Unchained Melody
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Tomplay
Bryan Adams,Ed Sheeran,Joe Cocker,The Righteous Brothers,Norah Jones : Les plus belles chansons d'amour à jouer au piano pour un mariage, Difficile, Vol. 1
Piano seul
Téléchargez la partition Piano Les plus belles chansons d'amour à…
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Téléchargez la partition Piano Les plus belles chansons d'amour à jouer au piano pour un mariage, Difficile, Vol. 1. Partition pour Piano avec accomp. orchestre -- Pop/rock
19.99 €
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Piano seul
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Bryan Adams,Ed Sheeran,Joe Coc
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Les plus belles chansons d'amo
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Tomplay
Ella Fitzgerald,Aretha Franklin,The Beatles,The Righteous Brothers,Johnny Mercer : Le meilleur des années 60' pour le piano, Difficile, Vol. 4 (piano solo)
Piano seul
Téléchargez la partition Piano Le meilleur des années 60' pour l…
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Téléchargez la partition Piano Le meilleur des années 60' pour le piano, Difficile, Vol. 4 (piano solo). Partition pour Piano seul -- Pop/rock
19.99 €
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Piano seul
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Ella Fitzgerald,Aretha Frankli
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Le meilleur des années 60' po
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Tomplay
Ella Fitzgerald,Aretha Franklin,The Beatles,The Righteous Brothers,Johnny Mercer : Le meilleur des années 60' pour le piano, Difficile, Vol. 4 (avec orchestre)
Piano seul
Téléchargez la partition Piano Le meilleur des années 60' pour l…
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Téléchargez la partition Piano Le meilleur des années 60' pour le piano, Difficile, Vol. 4 (avec orchestre). Partition pour Piano avec accomp. orchestre -- Pop/rock
19.99 €
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Piano seul
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Ella Fitzgerald,Aretha Frankli
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Le meilleur des années 60' po
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Tomplay
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.91 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.91 €
#
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
Sacred Piano Solos Book
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Various. Arranged by …
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Piano Solo - Advanced Intermediate - Digital Download Composed by Various. Arranged by James Michael Stevens. Sacred, Christmas, Easter, Lent, Wedding. Sheet Music Single. 64 pages. Published by James M Stevens Music ASCAP
Released June 2021, this is a collection of hymn arrangements and original sacred songs all written in 2020 and 2021 including titles: I Sing the Mighty Power of God, Amazing Grace, Holy, Holy, Holy, I Vow to Thee My Country, 'Twas in the Moon of Wintertime, Have Thine Own Way Lord, O Sing A Song of Bethlehem, Lord I Want to Be A Christian, and others. Difficulty levels range from intermediate to early advanced. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.Released June 2021, this is a collection of hymn arrangements and original sacred songs all written in 2020 and 2021 including titles: I Sing the Mighty Power of God, Amazing Grace, Holy, Holy, Holy, I Vow to Thee My Country, 'Twas in the Moon of Wintertime, Have Thine Own Way Lord, O Sing A Song of Bethlehem, Lord I Want to Be A Christian, and others. Difficulty levels range from intermediate to early advanced.
James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.
$18.99
17.51 €
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Piano seul
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Various
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Sacred Piano Solos Book
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SheetMusicPlus
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