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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
claude debussy
Sheetmusicplus
Non classifié
398
Piano & claviers
Piano seul
533
Piano, Voix
325
Piano Facile
130
1 Piano, 4 mains
30
Piano Trio: piano, violon, violoncelle
16
Piano Quintette: piano, 2 violons, alto, violoncelle
11
Orgue
7
Instruments en Do
7
Piano, Voix et Guitare
6
Accompagnement Piano
5
Piano Quatuor: piano, violon, alto, violoncelle
5
2 Pianos, 4 mains
2
Piano Quatuor: piano, 2 violons, violoncelle
2
2 Pianos, 8 mains
1
+ 9 instrumentations
Retracter
Guitares
Guitare
32
Guitare notes et tablatures
19
2 Guitares (duo)
16
Ligne De Mélodie, (Paroles) et Accords
6
Basse electrique
4
4 Guitares (Quatuor)
4
Piano, Guitare (duo)
3
Guitare, Violon, Violoncelle (trio)
2
Mandoline
1
Ukulele
1
Ensemble de guitares
1
2 Ukuleles
1
+ 7 instrumentations
Retracter
Voix
Chorale SATB
11
Voix Alto, Piano
9
Voix seule
4
Chorale 2 parties
4
Chorale
2
Voix Soprano, Piano
1
Voix haute
1
Voix basse, Piano
1
Voix Baryton, Piano
1
+ 4 instrumentations
Retracter
Vents
Flûte traversière et Piano
87
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
82
Quatuor de Saxophones: 4 saxophones
57
Clarinette et Piano
45
Hautbois, Piano (duo)
35
Saxophone Alto et Piano
33
Clarinette
33
2 Saxophones (duo)
32
Flûte traversière
29
Saxophone Tenor et Piano
26
Quatuor de Clarinettes: 4 clarinettes
26
Flûte, Hautbois, Clarinette, Basson
23
2 Flûtes traversières (duo)
21
Saxophone Alto
20
Saxophone Soprano et Piano
19
Quatuor de Flûtes : 4 flûtes
16
Saxophone Tenor
15
Hautbois (partie séparée)
15
Saxophone (partie séparée)
14
Ensemble de Clarinettes
14
Flûte et Guitare
13
Quintette de Clarinettes: 5 clarinettes
13
Quintette de Saxophone: 5 saxophones
12
Saxophone Baryton, Piano
11
3 Clarinettes (trio)
11
Flûte, Clarinette (duo)
9
2 Clarinettes (duo)
9
Trio de Flûtes: 3 flûtes
8
Clarinette (partie séparée)
7
3 Saxophones (trio)
7
Clarinette Basse, Piano
6
Ensemble de saxophones
6
Flûte à bec Soprano
5
Cor anglais, Piano
5
Hautbois
5
Flûte, Clarinette et Basson
5
Flûte à bec Tenor
4
Saxophone Soprano
4
Flûte, Hautbois (duo)
4
Flûte, Hautbois, Clarinette (trio)
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Flûte, Violoncelle, Piano (trio)
3
2 Hautbois (duo)
3
Flûte à bec Alto
3
Cor Anglais
3
Quatuor de Flûtes à bec
3
Saxophone Baryton
3
Ensemble de Flûtes
3
Clarinette, Basson (duo)
3
Flûte, Violon, Piano
3
Quintette de Flûte : 5 flûtes
3
Piccolo, Piano
3
Flûte, Alto et Violoncelle
2
Clarinette Basse
2
Flûte, Hautbois, Basson
2
Flûte à Bec
2
Flûte, trombone et piano
2
Clarinette, Guitare (duo)
2
Flûte, alto et harpe
2
Flute (partie séparée)
2
2 Flûtes traversières, Piano
1
Flûte, Violon et Violoncelle
1
Clarinette, Basson, Piano (trio)
1
Flûte, Hautbois, Piano (trio)
1
Hautbois, Clarinette (duo)
1
2 Clarinettes, Piano
1
Flûte, Basson et Piano
1
Hautbois, Guitare (duo)
1
4 Hautbois
1
2 Saxophones, Piano
1
Clarinette, Violoncelle (duo)
1
Hautbois, Basson (duo)
1
Flûte, Clarinette, Piano (trio)
1
Saxophone et Guitare
1
Flûte, Violon
1
Flûte à bec, Guitare (duo)
1
3 Hautbois
1
+ 72 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
35
Trombone et Piano
34
Trompette, Piano
27
Trompette
25
Cor et Piano
24
Tuba et Piano
20
Trombone
19
Quatuor de Cuivres : 2 trompettes, trombone, tuba
16
Cor
16
Euphonium, Piano (duo)
14
Trombone (partie séparée)
12
Tuba
11
Trompette (partie séparée)
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
10
Quatuor de cuivres: 4 trombones
8
Tuba (partie séparée)
7
Euphonium
6
2 Trompettes (duo)
6
Quatuor de cuivres: 4 cors
5
Cor (partie séparée)
5
Cor anglais, Piano
5
2 Trombones (duo)
4
2 Euphoniums et 2 Tubas
4
Trombone basse
4
Trompette, Trombone (duo)
4
Cor Anglais
3
4 Tubas
3
2 Cors (duo)
3
Trio de Cuivres
2
Trombone, Cor (duo)
2
Trompette, Cor (duo)
2
Trombone basse et Piano
2
Quatuor de Cuivres
1
3 Trombones (trio)
1
Trompette, Tuba (duo)
1
Trompette et Guitare
1
Trombone, Tuba (duo)
1
Ensemble de Trombones
1
2 Trompettes, Clavier (piano ou orgue)
1
Quatuor de cuivres: 4 trompettes
1
3 Trompettes (trio)
1
4 Euphoniums
1
2 Tubas (duo)
1
Trompette, Violoncelle et Piano
1
+ 39 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
101
Violon et Piano
78
Violoncelle, Piano
66
Alto, Piano
45
Violon
30
Violon, Violoncelle (duo)
25
Violoncelle
23
Alto seul
21
2 Violons (duo)
13
Contrebasse, Piano (duo)
11
Trio à Cordes: violon, alto, violoncelle
11
Contre Basse
10
Violon (partie séparée)
10
2 Violoncelles (duo)
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
9
Harpe
7
Violon, Alto (duo)
6
Trio à Cordes: 2 violons, violoncelle
5
Alto, Violoncelle (duo)
5
2 Altos (duo)
5
2 Violons, Piano
4
Contrebasse (partie séparée)
4
Violoncelle (partie séparée)
4
Violon, Guitare (duo)
4
Trio à Cordes: 3 violoncelles
3
Harpe, Flûte (duo)
3
Trio à cordes: 3 violins
3
Harpe, Violon (duo)
3
2 Altos, Piano
2
Alto, Guitare (duo)
2
Trio à Cordes: 2 violons, alto
2
Violoncelle, Contrebasse (duo)
2
Quatuor à cordes : 4 altos
2
Trio à cordes
2
4 Violoncelles
2
2 Contrebasses (duo)
2
Violoncelle , Guitare (duo)
1
3 Contrebasses
1
Violon, Clarinette, Piano (trio)
1
Trio à cordes: 3 altos
1
2 Violoncelles, Piano
1
Alto (partie séparée)
1
+ 37 instrumentations
Retracter
Orchestre & Percussions
Orchestre
98
Orchestre à Cordes
63
Orchestre d'harmonie
39
Orchestre de chambre
23
Ensemble de cuivres
11
Quintette à Vent
4
Cloches
4
Ensemble de Percussions
3
Percussion
2
Vibraphone (partie séparée)
2
Timbales (partie séparée)
1
Vibraphone et Marimba
1
Orchestre, Violon
1
Marimba, Piano (duo)
1
Marimba
1
Percussion (partie séparée)
1
Vibraphone
1
+ 12 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
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FLUTE TRAVERSI…
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claude debussy
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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
35.74 €
#
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
35.74 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
DOCTOR GRADUS AD PARNASSUM from 'Children's Corner Suite' by CLAUDE DEBUSSY. PIANO SOLO
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy (1862-1918). Impressionistic, Post-Romantic, Recital. 8 pages. Published by Diamond S Music
DOCTOR GRADUS AD PARNASSUM from ‘Children’s Corner Suite’ by CLAUDE DEBUSSY for PIANO SOLO. The Latin phrase gradus ad Parnassum means "steps to Parnassus”. Debussy composed Children's Corner between 1906 and 1908. This piece is actually a rather ingenious study in finger independence with a Twentieth Century vocabulary. In the middle, the pianist slows down and tries his material in other keys for exercise. Debussy's Doctor Gradus Ad Parnassum is of intermediate difficulty and requires experienced fingers. The pianist gets wilder toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".This edition also includes a short biography of Debussy and some facts about the piece.<br> <br> Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940DOCTOR GRADUS AD PARNASSUM from ‘Children’s Corner Suite’ by CLAUDE DEBUSSY for PIANO SOLO. The Latin phrase gradus ad Parnassum means "steps to Parnassus”. Debussy composed Children's Corner between 1906 and 1908. This piece is actually a rather ingenious study in finger independence with a Twentieth Century vocabulary. In the middle, the pianist slows down and tries his material in other keys for exercise. Debussy's Doctor Gradus Ad Parnassum is of intermediate difficulty and requires experienced fingers. The pianist gets wilder toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".This edition also includes a short biography of Debussy and some facts about the piece.<br> <br> Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.99
4.58 €
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Piano seul
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Claude Debussy (1862-1918)
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DOCTOR GRADUS AD PARNASSUM from 'Children's Corner Suite' by CLAUDE DEBUSSY. PIANO SOLO
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Diamond S Music
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SheetMusicPlus
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
9.5 €
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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
13.76 €
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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
Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/R…
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Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 16 pages. Musik Fabrik Music Publishing #5726995. Published by Musik Fabrik Music Publishing (A0.534653). Recorded for Grand Piano (GP822) by Nicolas Horvath.IFêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres. The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin..This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle Joyeuse (1904). Following Laloy’s scenario, the mas-queraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.
$12.95
11.88 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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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
4.13 €
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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
4.13 €
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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
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
7.8 €
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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
REVERIE by Claude Debussy - PIANO SOLO
Piano seul
Piano Solo - Digital Download SKU: A0.790106 Composed by Claude Debussy. Arranged b…
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Piano Solo - Digital Download SKU: A0.790106 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 8 pages. Diamond S Music #3621591. Published by Diamond S Music (A0.790106). RÊVERIE by CLAUDE DEBUSSY for PIANO SOLO. Rêverie is one of the most popular pieces of Debussy. Debussy's genius shines throughout this piece. The stillness and meditative calm of these lines are evoked with great beauty at the opening of the piece. That simplicity, even sparseness of texture, surrounds a central section of gently undulating passages. Rêverie is treasured for its ethereal beauty and sense of mystery. This edition also includes a short biography of Debussy and some facts about the piece. $4.95 Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.99
4.58 €
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Piano seul
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Claude Debussy
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Diamond S Music
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REVERIE by Claude Debussy - PIANO SOLO
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Diamond S Music
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SheetMusicPlus
CLAIR DE LUNE from 'Suite Bergamasque' by CLAUDE DEBUSSY. PIANO SOLO
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.790099 Composed by Claude Debussy. …
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Piano Solo - Level 4 - Digital Download SKU: A0.790099 Composed by Claude Debussy. Arranged by Diamond S Music. 20th Century,Concert. Score. 9 pages. Diamond S Music #3618867. Published by Diamond S Music (A0.790099). CLAIR DE LUNE from SUITE BERGAMASQUE by CLAUDE DEBUSSY for PIANO SOLO. Clair de Lune is considered one of the most beautiful pieces of music ever written. Debussy's genius shines throughout this piece. Clair de Lune is French for light of the moon, or moonlight. The stillness and meditative calm of these lines are evoked with great beauty at the opening of the piece. That simplicity, even sparseness of texture, surrounds a central section of gently undulating passages. Clair de Lune is treasured for its ethereal beauty and sense of mystery. This edition also includes a short biography of Debussy and some facts about the piece.Other similar arrangements and selections from DIAMOND S MUSIC available at:https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$4.95
4.54 €
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Piano seul
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Claude Debussy
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Diamond S Music
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CLAIR DE LUNE from 'Suite Bergamasque' by CLAUDE DEBUSSY. PIANO SOLO
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Diamond S Music
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SheetMusicPlus
Clair de Lune - Debussy (Easy Piano)
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.1107677 By Claude Debussy. By Claud…
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Piano Solo - Level 1 - Digital Download SKU: A0.1107677 By Claude Debussy. By Claude Debussy. Arranged by PianoForEveryone. 20th Century,Classical. Score. 4 pages. PianoForEveryone #710322. Published by PianoForEveryone (A0.1107677). An easy piano arrangement of Claude Debussy's 'Clair de Lune.' The key has been transposed down a semitone to simplify, and voices heavily 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
1.83 €
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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
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
1.83 €
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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
#
SheetMusicPlus
Clair de Lune - Debussy
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.733841 By Claude Debussy. By Claude…
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Piano Solo - Level 3 - Digital Download SKU: A0.733841 By Claude Debussy. By Claude Debussy. Arranged by Ygor Nunes. Classical,Multicultural,World. Score. 9 pages. Ygor Nunes #342041. Published by Ygor Nunes (A0.733841). Clair de Lune, Clair de Lune piano, Clair de Lune easy , Clair de Lune piano sheet, Clair de Lune free sheet, Clair de Luneeasy piano, Clair de Lune, debussy Clair de Lune, debussy sheet, debussy piano, debussy piano sheet, debussy Clair de Lune,.
$4.99
4.58 €
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Piano seul
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Claude Debussy
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Ygor Nunes
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Clair de Lune - Debussy
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Ygor Nunes
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SheetMusicPlus
Clair de Lune - Claude Debussy - piano solo D
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1454727 Composed by Claude Debussy.…
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Piano Solo - Level 2 - Digital Download SKU: A0.1454727 Composed by Claude Debussy. Arranged by Catia Lee. Classical,Traditional. Score. 2 pages. Catia Lee #1033802. Published by Catia Lee (A0.1454727). Clair de Lune - Claude Debussy - piano solo D.
$2.00
1.84 €
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Piano seul
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Claude Debussy
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Catia Lee
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Clair de Lune - Claude Debussy - piano solo D
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Catia Lee
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SheetMusicPlus
Claude Debussy- La Fille aux cheveux de lin
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1419197 Composed by Claude Debussy.…
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Piano Solo - Level 2 - Digital Download SKU: A0.1419197 Composed by Claude Debussy. Arranged by Harry Sebastian. Classical,Romantic Period. Score. 3 pages. Harry Sebastian #1000630. Published by Harry Sebastian (A0.1419197). Claude Debussy, La Fille aux cheveux de lin.
$3.99
3.66 €
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Piano seul
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Claude Debussy
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Harry Sebastian
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Claude Debussy- La Fille aux cheveux de lin
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Harry Sebastian
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SheetMusicPlus
Claude Debussy - Images Series I (L. 110) III. Mouvement - Original For Piano Solo
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1372560 Composed by Claude Debussy.…
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Piano Solo - Level 5 - Digital Download SKU: A0.1372560 Composed by Claude Debussy. Arranged by poon. Classical. Score. 13 pages. Poon #956880. Published by poon (A0.1372560). Claude Debussy - Images Series I (L. 110) III. Mouvement - Original For Piano Solo.
$1.99
1.83 €
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Piano seul
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Claude Debussy
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poon
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Claude Debussy - Images Series I
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poon
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SheetMusicPlus
Claude Debussy - Images Series I (L. 110) 1. Reflets dans l'eau - Original For Piano Solo
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1372450 Composed by Claude Debussy.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1372450 Composed by Claude Debussy. Arranged by poon. Classical. Score. 9 pages. Poon #956753. Published by poon (A0.1372450). Claude Debussy - Images Series I (L. 110) 1. Reflets dans l'eau - Original For Piano Solo.
$1.99
1.83 €
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Piano seul
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Claude Debussy
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poon
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Claude Debussy - Images Series I
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poon
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SheetMusicPlus
Ivory Palaces with First Arabesque by Claude Debussy
Piano seul
Piano Solo - Digital Download SKU: A0.911088 Composed by Henry Barraclough Claude D…
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Piano Solo - Digital Download SKU: A0.911088 Composed by Henry Barraclough Claude Debussy. Arranged by Donna Mitchell. 20th Century,Christian,Concert,Sacred. Score. 6 pages. Donna Mitchell Studio #6271613. Published by Donna Mitchell Studio (A0.911088). For early advanced pianists, this piece combines a well loved hymn with a composition by Claude Debussy. Flowing arpeggios, time signature shifts, and polyrhythms (2 against 3) help to create the ebb and flow of the water music that was so indicative of the Impressionistic Era. Key of E Major, 5 pages
$4.99
4.58 €
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Piano seul
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Henry Barraclough Claude Debussy
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Donna Mitchell
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Ivory Palaces with First Arabesque by Claude Debussy
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Donna Mitchell Studio
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SheetMusicPlus
Reverie,Claude Debussy,For Piano Solo
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1147523 Composed by Claude Debussy.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1147523 Composed by Claude Debussy. Arranged by poon. Classical. Score. 4 pages. Poon #747761. Published by poon (A0.1147523). Reverie,Claude Debussy,For Piano Solo.
$1.99
1.83 €
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Piano seul
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Claude Debussy
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poon
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Reverie,Claude Debussy,For Piano Solo
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poon
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SheetMusicPlus
Claude Debussy: Le Roi Lear Suite for piano
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534681 Composed by Claude Debussy/R…
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Piano Solo - Level 4 - Digital Download SKU: A0.534681 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period. Score. 23 pages. Musik Fabrik Music Publishing #6133653. Published by Musik Fabrik Music Publishing (A0.534681). A seven-movement suite for piano solo, completed from Debussy's Sketches by Robert Orledge. With full program notes by Dr. Orledge. Recorded by Nicolas Horvath on The Unknown Debussy (GP822, distributed by Naxos)
$16.95
15.55 €
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Piano seul
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Claude Debussy/Robert Orledge
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With full program notes by Dr
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Claude Debussy: Le Roi Lear Suite for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Toomai des éléphants for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534657 Composed by Claude Debussy/R…
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Piano Solo - Level 4 - Digital Download SKU: A0.534657 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Standards. Score. 10 pages. Musik Fabrik Music Publishing #5732665. Published by Musik Fabrik Music Publishing (A0.534657). In January 1913, Debussy struggled to complete Toomai des éléphants as the 11th prelude in Book2, finally replacing it by a rather Stravinskian study Les Tierces alternées. However, his daughter Chouchou was fascinated by elephants and in the summer of 1913, Debussy wrote her a ‘Toybox Ballet’ (La Boîte à joujoux) which contains a ‘Pas de l’éléphant’ and an ‘old Hindu chant which is still used to train elephants [in India]. It is constructed on the scale of “5 o’clock in the morningâ€,which means it must be in 5/4 time.’ My reconstruction of this lost prelude is based around this material and it evokes a day in the life of Toomai, the young mahout, and his faithful elephant Kala Nag from one dawn to the next, incorporating the legendary ‘Elephants’ Dance’ from Rudyard Kip ling’s First Jungle Book (1894) which only Toomai was ever privileged to witness. The version presented here is the revised second version of this prelude which contains an effect of piano harmonics as the dawn returns towards the end.
$10.35
9.5 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Toomai des éléphants for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Les Accords du Septième regrettent!!!
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.534656 Composed by Claude Debussy. …
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Piano Solo - Level 3 - Digital Download SKU: A0.534656 Composed by Claude Debussy. Arranged by Robert Orledge. 20th Century,Concert,Standards. Score. 3 pages. Musik Fabrik Music Publishing #5732659. Published by Musik Fabrik Music Publishing (A0.534656). Les accords de septième regrettent!!! was the first of the birthday gift Debussy wrote for his second wife-to-be Emma Barda on 4 June 1905. It consists of only nine bards, inscribed as follows: ‘But see how successfully the chords of the 9th, equipped with all their harmonies, send the regrettable 7th [in bars 1-4] about their business and borrow from the colour of the sky some godlike gleams in order to celebrate your birthday, dear “petite mienneâ€â€™ [‘Mais voici qu’heureusement des accords de 9me armés de tous leurs harmoniques te nous envole promener les regrettable 7èmes et emprunte à la couleur de ciel des lueurs d’apothéose pour célébrer ta chère fête de chère petite mienne’] Which shous how much their initially idyllic relationship was founded on Emma’s sympathetic understanding of Debussy’s musical language, something that had proved impossible for his first wife Lilly.
$1.99
1.83 €
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Piano seul
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Claude Debussy
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Robert Orledge
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Claude Debussy: Les Accords du Septième regrettent!!!
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Musik Fabrik Music Publishing
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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
3.66 €
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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
Reverie - Debussy
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.616269 By Claude Debussy. By Claude…
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Piano Solo - Level 3 - Digital Download SKU: A0.616269 By Claude Debussy. By Claude Debussy. Arranged by Ygor Nunes. Classical. Score. 6 pages. Ygor Nunes #225434. Published by Ygor Nunes (A0.616269). Reverie, reverie piano, reverie piano solo, reverie easy piano, reverie debussy, debussy reverie,.
$3.99
3.66 €
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Piano seul
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Claude Debussy
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Ygor Nunes
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Reverie - Debussy
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Ygor Nunes
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SheetMusicPlus
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