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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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ACCORDEON
ALTO
AUTOHARPE
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CHORALE - CHAN…
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FORMATION MUSI…
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HARMONICA
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Quatuor de Clarinettes: 4 clarinettes
17
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14
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13
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12
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11
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10
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10
2 Clarinettes (duo)
10
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9
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9
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7
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5
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4
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4
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3
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2
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1
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1
2 Hautbois (duo)
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1
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1
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1
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1
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1
Clarinette et Alto
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
18
Trompette
13
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Trombone et Piano
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Trompette, Piano
4
Cor anglais, Piano
3
Ensemble de Trombones
3
Quatuor de Cuivres
3
Trompette, Trombone (duo)
3
Cor et Piano
3
Trompette, Saxophone (duo)
2
2 Trombones (duo)
2
Tuba et Piano
2
2 Trompettes (duo)
2
Ensemble de Trompettes
1
Euphonium, Piano (duo)
1
4 Tubas
1
Trombone (partie séparée)
1
Cor
1
2 Cors (duo)
1
Trombone
1
3 Trompettes (trio)
1
Tuba et Orgue
1
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CORDES
Violon et Piano
13
Quatuor à cordes: 2 violons, alto, violoncelle
13
Violoncelle, Piano
8
Alto, Piano
6
Trio à Cordes: 2 violons, violoncelle
4
Violon
4
Trio à Cordes: violon, alto, violoncelle
3
Violon, Violoncelle (duo)
3
Violon, Alto (duo)
3
Violoncelle
3
2 Altos (duo)
2
2 Violons (duo)
2
Alto seul
1
Trio à cordes: 3 violins
1
Ensemble de Violons
1
Contre Basse
1
Violoncelle , Guitare (duo)
1
Violoncelle (partie séparée)
1
2 Violoncelles (duo)
1
Ensemble d'Altos
1
Harpe, Flûte (duo)
1
4 Contrebasses
1
4 Violoncelles
1
Violon, Guitare (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
76
Orchestre
19
Ensemble de cuivres
11
Orchestre à Cordes
11
Ensemble Jazz
7
Orchestre de chambre
6
Cloches
4
Jazz combo
3
Batterie
2
Quintette de Cuivres: autres combinaisons
1
Xylophone
1
Quintette à Vent
1
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AUTRES
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A Time Is Near
Orchestre
Partitions à imprimer
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No Time To Die
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.780142 By Billie Eilish. By Bil…
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Full Orchestra - Level 3 - Digital Download SKU: A0.780142 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Graham Boag. Pop. Score and parts. 97 pages. Graham Boag #6864367. Published by Graham Boag (A0.780142). No Time to Die is a the twenty-fifth instalment in the James Bond film series produced by Eon Productions. It features Daniel Craig in his fifth and final outing as the fictional MI6 agent James Bond. It is directed by Cary Joji Fukunaga, who also co-wrote the screenplay with Neal Purvis, Robert Wade, and Phoebe Waller-Bridge. Ralph Fiennes, Naomie Harris, Ben Whishaw, Rory Kinnear, Jeffrey Wright, Léa Seydoux, and Christoph Waltz reprise their roles from previous films, with Rami Malek, Lashana Lynch, Dali Benssalah, Billy Magnussen, and Ana de Armas joining the cast.
$59.99
55.09 €
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Orchestre
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Billie Eilish
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Graham Boag
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No Time To Die
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Graham Boag
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SheetMusicPlus
CONJUNCTION: The Christmas Star of 2020
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers…
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Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00
87.24 €
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Orchestre
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Star of 2020
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WheatMyer Music
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SheetMusicPlus
Homage to O'Keeffe for Orchestra
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. …
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Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia O’Keeffe’s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.
$39.99
36.72 €
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Orchestre
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Sy Brandon
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Homage to O'Keeffe for Orchestra
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Sy Brandon
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SheetMusicPlus
The Great Cathedral
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.995852 Composed by Andrew Straw…
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Full Orchestra - Level 4 - Digital Download SKU: A0.995852 Composed by Andrew Strawn. Contemporary,Romantic Period. Score and parts. 125 pages. Andrew Strawn #4726553. Published by Andrew Strawn (A0.995852). Dedicated to the Notre Dame Cathedral in Paris which caught fire during the writing of this piece. The Great Cathedral is a long-anticipated work. I have had the primary chorale melody for nearly a year prior to the time of publication. So it seems rather overdue to complete it. Being the first large work for orchestra I have composed in a while, it was certainly a challenge. Nevertheless, this piece has come together just as I wanted it to. Written for full orchestra, choir, harp, piano, and organ, The Great Cathedral is a colossal work. It features the principal violinist and travels through a variety of orchestrations. From a French revolution-style march, swelling chorales, fugal expositions, and dissonate sforzandos this piece transforms the primary melody across the score. I am proud to have finally completed this work and I hope you enjoy, The Great Cathedral. In the event a choir is unavailable, choir parts have been cued in the organ. The organ would then play on a reed setting.Includes a legal-sized score and a letter-sized set of parts.
$55.00
50.51 €
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Orchestre
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Andrew Strawn
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The Great Cathedral
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Andrew Strawn
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SheetMusicPlus
Family Fugue
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1447011 Composed by Jenny-Joy A…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1447011 Composed by Jenny-Joy Ahimsa Moore. Classical,Contemporary. 15 pages. Jenny Joy Ahimsa Moore #1026786. Published by Jenny Joy Ahimsa Moore (A0.1447011). This piece is for a symphony that would play more challenging music. It is how I view, and harmonize, my dysfuctional/abusive family. The middle section falls apart much like my family truly was, behind closed doors. That is: we lived in the same house, but we did not communicate, we did not listen to each other. Near the end, it becomes much darker, almost funereal, like the truth of what being the youngest child (of a narcissistice mother, with an older narcissistic sister, a dad who chooses to remain ignorant) in my family was truly like. The various parts represent members of my family , sometimes several parts represent one member, or (at times) one part represents several members. Typically, the flute represents my sister, clarinet represents myself (sometimes tuba and trumpet as well). The parts overlap , to show how we did not listen and spoke at each other rather than with each other. This piece shows not just what each person was like on the outside, but also shows the more subtle sides of each member that few people really see or know about (the abuse behind closed doors). This piece is multi faceted, multi layered, like the 4 main members of my family are. The very end points to the Grace of God being the only thing that can heal my family at this point. The flute ends higher than clarinet, in the Hope that Healing can truly occur (not just my family, but with other families that hurt as well).
$79.99
73.45 €
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Orchestre
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Jenny-Joy Ahimsa Moore
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Family Fugue
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Jenny Joy Ahimsa Moore
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SheetMusicPlus
Olga-Polka, Op. 196 (arr. for string orchestra): Full Score
Orchestre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.922635 Composed by Johann St…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.922635 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 7 pages. Aaron Meier #5792353. Published by Aaron Meier (A0.922635). Original by Johann Strauss II Reduction to String Orchestra by Aaron Meier Part: Full Score ONLY True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament). Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles) ---Performance Notes: • Approximate length: 3:30 minutes • 1st Violins: In m. 1, trill a half step from a D♠to a D♮ • 2nd Violins:  - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B  - At m. 72-75, emphasize the E♠in the div. • Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓) History: The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody. Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms. [excerpted from NAXOS Records] Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020. Resources: • Visit sites.google.com/view/aaronmeier for more information regarding this arrangement and other works. • Find a full midi recording of this arrangement on YouTub.
$10.99
10.09 €
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Orchestre
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Johann Strauss Jr
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Aaron Meier
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Olga-Polka, Op. 196
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Aaron Meier
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SheetMusicPlus
Repetitions
Orchestre
Full Orchestra - Level 2 - Digital Download SKU: A0.939372 Composed by Adam Grim. C…
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Full Orchestra - Level 2 - Digital Download SKU: A0.939372 Composed by Adam Grim. Concert,Contemporary,Standards. Score and parts. 4 pages. Adam B. Grim #5726213. Published by Adam B. Grim (A0.939372). This piece is inspired by Terry Riley's In C. Repetitions is a solo for found objects and The Repeater Orchestra, a free program online that mimics live sounds in real time, and plays them back in a stereo/spacial environment. It has non-standard notation in a way, with single bits written on a staff arranged in an order to play them. The player is given freedom to repeat things as many times as they want, making the piece possible to play in under 2 minutes, to well into the dozens. In my interpretation (shown in the YouTube video), it takes around 11 minutes. This piece is about making a soundscape of repeated patterns, and overlapping and combining them to create one conglomerate. Instruments include: planks of wood, a bucket of water, ceramic tiles, a glass bottle with marbles in it, a can, and a separate glass bottle for hitting. Implements include: a 2 paintbrush, a ring, rubber xylophone mallets, and oak dowel rods with Moleskin wrapped on one tip. Note, I apologize for the feedback near the first third of the recording, I had to adjust the settings, and did not hear the feedback as hard as the computer did!
$4.99
4.58 €
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Orchestre
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Adam Grim
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Repetitions
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Adam B. Grim
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SheetMusicPlus
Aires Nacionales Mexicanos, Op. 558 (Potpourri) 11"x17" SCORE ONLY
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.723122 Composed by Miguel Rios …
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Full Orchestra - Level 4 - Digital Download SKU: A0.723122 Composed by Miguel Rios Toledano. Arranged by Joel Jacklich (ASCAP). Folk,Latin,Romantic Period,World. Score and parts. 48 pages. Joel Jacklich #2075453. Published by Joel Jacklich (A0.723122). NOTE: Full Score is formatted for 11x17. Aires Nacionales Mexicanos, Op. 558, is a potpourri by the nineteenth-century Mexican bandmaster and composer Miguel Rios Toledano. It was written sometime during the presidency of Porfirio Diaz (r. 1876-1911) to whom the work was dedicated. The introduction to the twenty-five minute work (which features more than forty traditional regional songs and dances from Mexico) begins with the Himno Nacional in an instrumental version (Chorus, Stanza, Chorus). By Mexican law and custom (although this law is not applicable in the rest of the world where the Himno Nacional is considered in the public domain), in order to perform the Himno Nacional (even in this case as part of a larger orchestral work), permission must be obtained. In the second chapter of the Mexican Law on the National Arms, Flag, and Anthem (Ley sobre el Escudo, la Bandera y los Himnos Nacionales), it states that if the anthem is played outside of Mexico, Article 48 requires that the Secretary of External Relations (SecretarÃa de Relaciones Exteriores), through proper channels, must grant permission for the national anthem to be played and will also ensure that the anthem is performed with dignity and is not sung for commercial purposes. In the spirit of this law, and for good international relations, it is recommended that when performing the entire work, it would be good form to contact the nearest Mexican Consulate to see about obtaining permission. Should permission not be received, a cut has been indicated in the music from the first beat of measure 2 to the second beat of measure 42 to eliminate the Himno Nacional portion from the performance. At the time the work was written, the Himno Nacional was not quite so closely monitored, hence its inclusion in this work and its common accepted performance a century ago. This arrangement for full orchestra was made from an original piano version by Miguel Rios Toldano. The orchestration was made for a concert in celebration of Cinco de Mayo by the Imperial Valley Symphony on May 5, 2012. The score is formatted for 11x17 paper. The parts (found separately) are in standard letter page format (8-1/2x11).
$25.00
22.96 €
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Orchestre
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Mexican law and custom
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Miguel Rios Toledano
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Joel Jacklich (ASCAP)
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Aires Nacionales Mexicanos, Op. 558
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Joel Jacklich
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SheetMusicPlus
Aires Nacionales Mexicanos, Op. 558 (Potpourri) - 8-1/2"x11" ORCHESTRAL PARTS ONLY
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.723069 Composed by Miguel Rios …
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Full Orchestra - Level 4 - Digital Download SKU: A0.723069 Composed by Miguel Rios Toledano. Arranged by Joel Jacklich (ASCAP). Folk,Latin,Romantic Period,World. Score and parts. 230 pages. Joel Jacklich #2075457. Published by Joel Jacklich (A0.723069). ORCHESTRAL PARTS ONLY. (Large format score published separately) Aires Nacionales Mexicanos, Op. 558, is a potpourri by the nineteenth-century Mexican bandmaster and composer Miguel Rios Toledano. It was written sometime during the presidency of Porfirio Diaz (r. 1876-1911) to whom the work was dedicated. The introduction to the twenty-five minute work (which features more than forty traditional regional songs and dances from Mexico) begins with the Himno Nacional in an instrumental version (Chorus, Stanza, Chorus). By Mexican law and custom (although this law is not applicable in the rest of the world where the Himno Nacional is considered in the public domain), in order to perform the Himno Nacional (even in this case as part of a larger orchestral work), permission must be obtained. In the second chapter of the Mexican Law on the National Arms, Flag, and Anthem (Ley sobre el Escudo, la Bandera y los Himnos Nacionales), it states that if the anthem is played outside of Mexico, Article 48 requires that the Secretary of External Relations (SecretarÃa de Relaciones Exteriores), through proper channels, must grant permission for the national anthem to be played and will also ensure that the anthem is performed with dignity and is not sung for commercial purposes. In the spirit of this law, and for good international relations, it is recommended that when performing the entire work, it would be good form to contact the nearest Mexican Consulate to see about obtaining permission. Should permission not be received, a cut has been indicated in the music from the first beat of measure 2 to the second beat of measure 42 to eliminate the Himno Nacional portion from the performance. At the time the work was written, the Himno Nacional was not quite so closely monitored, hence its inclusion in this work and its common accepted performance a century ago. This arrangement for full orchestra was made from an original piano version by Miguel Rios Toldano. The orchestration was made for a concert in celebration of Cinco de Mayo by the Imperial Valley Symphony on May 5, 2012. The parts are in standard letter page format (8-1/2x11) The score (found published separatetely at SheetMusicPlus) is formatted for 11x17 paper.
$65.00
59.69 €
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Orchestre
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Mexican law and custom
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Miguel Rios Toledano
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Joel Jacklich (ASCAP)
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Aires Nacionales Mexicanos, Op. 558
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Joel Jacklich
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SheetMusicPlus
Into Love's Light (full orchestra)
Orchestre
Full Orchestra - Digital Download SKU: A0.834138 Composed by M. L. Daniels. 20th Ce…
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Full Orchestra - Digital Download SKU: A0.834138 Composed by M. L. Daniels. 20th Century,Romantic Period. Score and parts. 42 pages. M. L. Daniels #12293. Published by M. L. Daniels (A0.834138). Into Love's Light is for full orchestra, and begins gently, but grows as it proceeds. It has a climax near the end that has made it very popular with the Williamson County Symphony Orchestra for whom it was written. Audiences have commented that it brings chill bumps or tears. Time of performance is 4:50. It is fairly easy to play, and was selected by two junior all-region orchestras in Texas. However, to obtain the best results, a mature orchestra is recommended in order to pull off the big climax near the end.
$25.00
22.96 €
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Orchestre
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M
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Into Love's Light
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M. L. Daniels
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestre
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
22.96 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestre
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
22.96 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestre
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
22.96 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
The Cross Kirk and the lang walk
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1440683 By Graham Hamilton. By …
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Full Orchestra - Level 3 - Digital Download SKU: A0.1440683 By Graham Hamilton. By Graham Hamilton. Classical,Contest,Festival,Film/TV,Historic,Traditional. 103 pages. Hambone Music #1020661. Published by Hambone Music (A0.1440683). A dramatic film-type composition capturing the journey of a novice monk during 15th Century Scotland. For orchestras of an intermediate standard. Ahaunting french horn solo is followed by a dramatic trek utilising the whole orchestra to the end where the horn to round the piece off.Inspired by an old ruined church in my town called the 'Cross Kirk' the history of which can be found here: https://www.britainexpress.co.uk/attr... Part 1 (0 - 2:24) It is around the year 1650. A novice monk awakes from his slumber to the echoes of prayers and holy chanting coming through the cloisters. After he rises, he readies the oxen for a trek down the St. Andrews Road to the nearby satellite site of the priory - the site of the modern day St Andrew's cemetery. Part 2 (2:26 -3:37) It is an arduous trek over a muddy, rocky, unprepared track with heavy carts, with oxen straining to pull the load. They stop for a breather (3:09) and the impressive vistas are observed and the flag at 'Auld Neidpath' is just visible, reflected in the noble theme between the arduous oxen trekking theme. Part 3 (3:37 - 6:02) The caravan starts to speed up; the oxen being startled by the sounds of fanfare trumpets coming from behind - a brave group of knights have broken through English lines and speed towards Neidpath to reinforce the besieged occupants. As they pass the wagon train, the fanfares get louder until the party reach the head of the train (4:30) where the lead Knight halts to show piety to the Hieromonk who blesses him and his knights (4:55). The novice looks on awe-inspired at the brave knights, with noble faces, resplendent in shining armour, with banners flapping in the wind. (5:02) No time to stop! The knights remount and continue on, the fanfares trailing off into the distance. The wagon train slows down having reached its destination. Part 4 (6:03 - 8:12) The novice is back at the priory, reflecting on seeing knights for the first time (receiving their blessing); their nobility and bravery impressed upon him and retires to his cell for the evening, the evening prayers and chants again echoing through the cloisters (6:30). As he closes his eyes, his mind returns to the knights and a smile crosses his face (8:01) as he gently drifts off to sleep, as the final bell of the day tolls.
$49.99
45.9 €
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Orchestre
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Graham Hamilton
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The Cross Kirk and the lang walk
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Hambone Music
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SheetMusicPlus
The River Kwai March
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1478076 Composed by Malcolm Arn…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1478076 Composed by Malcolm Arnold. Arranged by Kevin Riley. 20th Century,Film/TV,March. 56 pages. Kevin Riley #1055459. Published by Kevin Riley (A0.1478076). The River Kwai March is a march composed by Malcolm Arnold in 1957. It was written as an orchestral counter-march to the Colonel Bogey March, which is whistled by the soldiers entering the prisoner camp in the film The Bridge on the River Kwai and again near the end of the film when the bridge is formally dedicated. The Arnold march re-appears (without the Colonel Bogey March) several times in the film and is repeated at the finale.If you enjoy playing this and would like to request a piece for your ensemble please get in touch at klscj@me.com.
$70.00
64.28 €
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Orchestre
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Malcolm Arnold
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Kevin Riley
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The River Kwai March
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Kevin Riley
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SheetMusicPlus
The Glastry Pearl. Tone Poem Elegy For My Mum.
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
$200.00
183.65 €
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Orchestre
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Geraldine
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The Glastry Pearl. Tone Poem Elegy For My Mum.
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Geraldine
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SheetMusicPlus
The Eve Of The War
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.521973 Composed by Jeff Wayne. …
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Full Orchestra - Level 4 - Digital Download SKU: A0.521973 Composed by Jeff Wayne. Arranged by Kevin Riley. 20th Century,Film/TV,Rock. Score and parts. 77 pages. Kevin Riley #132537. Published by Kevin Riley (A0.521973). Jeff Wayne's Musical Version of The War of the Worlds is the debut album by Jeff Wayne, retelling the story of The War of the Worlds by H. G. Wells. It was released in the UK on 9 June 1978. A concept album and a rock opera, its main format is progressive rock and string orchestra, using narration and leitmotifs to carry the story and rhyming melodic lyrics that express the feelings of the various characters. The double album remains a bestseller, having sold 15 million copies worldwide, with more than 200,000 copies sold in the US, and nearly 3 million in the UK. In 2018, it was named the 32nd best-selling studio album of all time in the UK.[8] It has spawned multiple versions including video games, DVDs, and live tours.
$70.00
64.28 €
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Orchestre
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Jeff Wayne
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Kevin Riley
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The Eve Of The War
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Kevin Riley
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SheetMusicPlus
Tennessee
Orchestre
Full Orchestra - Digital Download SKU: A0.509587 Composed by Hans Zimmer. Arranged …
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Full Orchestra - Digital Download SKU: A0.509587 Composed by Hans Zimmer. Arranged by Kevin Riley. 20th Century,Film/TV. Score and parts. 40 pages. Published by Kevin Riley (A0.509587). Pearl Harbor is a 2001 American romantic war drama film directed by Michael Bay, produced by Bay and Jerry Bruckheimer and written by Randall Wallace. It stars Ben Affleck, Kate Beckinsale, Josh Hartnett, Cuba Gooding Jr., Tom Sizemore, Jon Voight, Colm Feore, and Alec Baldwin. The film presented a heavily fictionalized version of the attack on Pearl Harbor by Japanese forces on December 7, 1941, focusing on a love story set amid the lead up to the attack, its aftermath, and the Doolittle Raid. The film was a box office success, earning $59 million in its opening weekend and nearly $450 million worldwide, but received generally negative reviews from critics, who criticized the story, long runtime, screenplay and dialogue, pacing, performances and historical inaccuracies, although the visual effects and music score were praised. It was nominated for four Academy Awards, winning in the category of Best Sound Editing. However, it was also nominated for six Golden Raspberry Awards, including Worst Picture. This marked the first occurrence of a Worst Picture-nominated film winning an Academy Award.
$60.00
55.1 €
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Orchestre
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Hans Zimmer
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Kevin Riley
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Tennessee
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Kevin Riley
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SheetMusicPlus
General's Suite Macarthur Patton - Score Only
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1450384 Composed by Jerrald K G…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1450384 Composed by Jerrald K Goldsmith. Arranged by Chris Siddall. Film/TV. 39 pages. Chris Siddall Music Publishing #1030115. Published by Chris Siddall Music Publishing (A0.1450384). When composer Jerry Goldsmith was asked to write the score for MacArthur, people were surprised that he accepted the project because they wondered what he would have left to say, musically, after Patton. Jerry‘s feeling was that MacArthur was a totally different person, and it would be a real challenge to write about another military figure but do it in a different manner. He said “it‘s much more flamboyant in a different sort of way, and it was an interesting task“. Patton enjoyed resounding critical praise and has since been elevated to the designation of a classic. The film won Academy Awards for nearly all of its major players, with composer Jerry Goldsmith being an unfortunate exception. Goldsmith had already written many scores for World War II topics in his short mainstream career, but none would prove as memorable in any part as the march from Patton, a concert hall staple for the composer throughout his career. Despite the dominance of this theme and the fact that only roughly thirty minutes of music was employed in such a long picture, the effect of his score on the film is far more complicated than many people may realize. While the famous march, with all its bravado from brass, flutes, and snare, easily represents the identity of the character and war, Goldsmith’s work for the film actually spends more time dwelling on the deeper meanings of life that the general himself explored.Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$19.99
18.36 €
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Orchestre
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Jerrald K Goldsmith
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Chris Siddall
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General's Suite Macarthur Patton - Score Only
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Chris Siddall Music Publishing
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SheetMusicPlus
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