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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
Children\\\'s Dance
Non classifié
308
Piano & claviers
Piano seul
170
Piano Facile
77
Piano, Voix et Guitare
25
Piano, Voix
16
1 Piano, 4 mains
10
Piano (partie séparée)
4
Piano Trio: piano, violon, violoncelle
3
Accordéon
1
2 Pianos, 4 mains
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Orgue
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Instruments en Do
1
+ 8 instrumentations
Retracter
Guitares
Guitare
7
Guitare notes et tablatures
4
Ligne De Mélodie, (Paroles) et Accords
3
2 Guitares (duo)
1
Paroles et Accords
1
3 Guitares (trio)
1
+ 1 instrumentations
Retracter
Voix
Chorale Unison
23
Chorale 2 parties
16
Chorale SATB
11
Chorale 3 parties
9
Voix seule
2
Voix duo, Piano
1
Voix duo
1
Voix moyenne, Piano
1
+ 3 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
24
Flûte traversière et Piano
22
Clarinette
22
Clarinette et Piano
19
2 Saxophones (duo)
17
Saxophone Tenor et Piano
16
2 Flûtes traversières (duo)
15
Saxophone Alto et Piano
14
Hautbois, Piano (duo)
13
Flûte traversière
12
Quatuor de Flûtes : 4 flûtes
11
Hautbois (partie séparée)
11
Cor anglais, Piano
9
Saxophone Soprano et Piano
9
Flûte, Hautbois, Clarinette, Basson
9
2 Clarinettes (duo)
9
3 Saxophones (trio)
8
Saxophone Baryton, Piano
8
Saxophone (partie séparée)
7
Saxophone Alto
7
Ensemble de Clarinettes
7
2 Hautbois (duo)
5
Trio de Flûtes: 3 flûtes
5
Flûte à bec Soprano
4
2 Flûte à bec (duo)
4
Piccolo, Piano
4
Ensemble De Flûte à bec
4
3 Clarinettes (trio)
4
Piccolo
4
Flûte à bec Tenor
4
Flûte à bec Alto, Piano
4
Ensemble de saxophones
4
Saxophone Baryton
4
Hautbois, Basson (duo)
4
Cor Anglais
4
Flûte à Bec, Piano
4
Clarinette Basse, Piano
4
Quatuor de Clarinettes: 4 clarinettes
4
Flûte, Clarinette (duo)
4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Saxophone Tenor
3
Flûte, Hautbois, Basson
2
Quatuor de Flûtes à bec
2
Saxophone Soprano
2
Hautbois
2
Flûte, Violon, Piano
2
Quintette de Saxophone: 5 saxophones
2
Flûte, Hautbois, Piano (trio)
2
Clarinette, Basson (duo)
2
Hautbois, Clarinette (duo)
2
Flûte, Hautbois (duo)
2
Quintette de Clarinettes: 5 clarinettes
1
Flute, harpe et violon
1
2 Saxophones, Piano
1
Clarinette, Violon (duo)
1
+ 50 instrumentations
Retracter
Cuivres
Trompette
22
Trompette, Piano
21
Trombone et Piano
19
Cor et Piano
12
Trombone
12
Euphonium, Piano (duo)
10
Cor anglais, Piano
9
Tuba et Piano
9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
8
Cor
8
Quatuor de cuivres: 4 cors
7
2 Trompettes (duo)
7
Quatuor de cuivres: 4 trompettes
6
Quatuor de cuivres: 4 trombones
6
2 Trombones (duo)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Tuba
6
2 Cors (duo)
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Trombone basse
4
Cor Anglais
4
2 Tubas (duo)
4
Trompette, Trombone (duo)
4
4 Tubas
3
3 Trombones (trio)
2
Trompette, Cor (duo)
2
Trombone basse et Piano
2
Quatuor de Cuivres
2
Cor, Tuba (duo)
2
Tuba et Orgue
2
Trombone, Cor (duo)
2
3 Trompettes (trio)
2
Euphonium
1
+ 28 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
28
Violon et Piano
26
2 Violons (duo)
23
Violoncelle
21
Violon
20
Alto, Piano
17
Violoncelle, Piano
16
Alto seul
15
Violon, Alto (duo)
13
Violon (partie séparée)
12
Violon, Violoncelle (duo)
11
2 Altos (duo)
10
Contre Basse
10
2 Violoncelles (duo)
10
Trio à Cordes: violon, alto, violoncelle
9
4 Violoncelles
7
Harpe
6
Quatuor à cordes : 4 altos
4
Quatuor à cordes: 4 violons
4
Contrebasse (partie séparée)
3
Alto (partie séparée)
3
Violoncelle (partie séparée)
3
Trio à Cordes: 2 violons, violoncelle
3
Trio à Cordes: 3 violoncelles
2
Alto, Violoncelle (duo)
2
Trio à cordes: 3 altos
2
Contrebasse, Piano (duo)
2
Flûte, Contrebasse (duo)
2
Trio à cordes: 3 violins
2
+ 24 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
12
Orchestre d'harmonie
11
Orchestre
8
Percussion (partie séparée)
6
Orchestre de chambre
5
Marimba
3
Ensemble Jazz
2
Cloches
2
Quintette de Cuivres: autres combinaisons
1
Fanfare
1
Ensemble de Percussions
1
+ 6 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
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SheetMusicPlus
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Vous avez sélectionné:
Children\\\'s Dance
Orchestre
Partitions à imprimer
8 partitions trouvées
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1
Giraffes can't Dance
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Orchestre
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INTERMÉDIAIRE
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Nigel Hildreth
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Giraffes can't Dance
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Nigel Hildreth
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1015104 Composed by Nigel Hildreth. Children,Contemporary. Score and parts. 91 pages. Nigel Hildreth #4613503. Publis...
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Full Orchestra - Level 3 - SKU: A0.1015104 Composed by Nigel Hildreth. Children,Contemporary. Score and parts. 91 pages. Nigel Hildreth #4613503. Published by Nigel Hildreth (A0.1015104). A setting of Giles Andrea's marvelous children's poem Giraffes can,t Dance for orchestra: suitable for youth or amateur orchestra
$15.99
The Wind in the Willows, A Ballet Pantomime in Three Acts Full Score and Individual Parts
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Orchestre
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AVANCÉ
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James Nathaniel Holland
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The Wind in the Willows, A Bal
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730380 Composed by James Nathaniel Holland. Broadway,Children,Contemporary. Score and parts. 899 pages. James Nathani...
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Full Orchestra - Level 5 - SKU: A0.730380 Composed by James Nathaniel Holland. Broadway,Children,Contemporary. Score and parts. 899 pages. James Nathaniel Holland #3069095. Published by James Nathaniel Holland (A0.730380). Kenneth Grahame's classic children's novel is brought to musical life by American Costa Rican composer James Nathaniel Holland in his adaptation of The Wind in the Willows for theatrical dance production, orchestra, soloists and chorus. This fine work is waiting to be premiered. Perfect for children's concerts.A musically sophisticated, lyrical and sentimental adaptation of Grahame's novel, which emphasizes his poetic chapters of Rat and Mole, while maintaining the comedy of Mr. Toad. The genius of this adaptation is full of orchestral colors; a fine introduction to classical music and the orchestra for any young person or novice.- The Nutley Globe
$95.99
The Wind in the Willows, A Ballet Pantomime in Three Acts Individual Instrumental Parts
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Orchestre
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AVANCÉ
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James Nathaniel Holland
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The Wind in the Willows, A Bal
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730381 Composed by James Nathaniel Holland. Broadway,Children,Contemporary,Musical/Show. Score and parts. 599 pages. ...
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Full Orchestra - Level 5 - SKU: A0.730381 Composed by James Nathaniel Holland. Broadway,Children,Contemporary,Musical/Show. Score and parts. 599 pages. James Nathaniel Holland #3069119. Published by James Nathaniel Holland (A0.730381). Kenneth Grahame's classic children's novel is brought to musical life by American Costa Rican composer James Nathaniel Holland in his adaptation of The Wind in the Willows for theatrical dance production, orchestra, soloists and chorus. This fine work is waiting to be premiered. Perfect for children's concerts.A musically sophisticated, lyrical and sentimental adaptation of Grahame's novel, which emphasizes his poetic chapters of Rat and Mole, while maintaining the comedy of Mr. Toad. The genius of this adaptation is full of orchestral colors; a fine introduction to classical music and the orchestra for any young person or novice.- The Nutley Globe
$66.95
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - 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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
#
SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - 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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
#
Classique
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - 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
Carol, (Villagers All This Frosty Morn) - SATB Chorus and Orchestra from The Wind in the
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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James Nathaniel Holland
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Carol,
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.730316 Composed by James Nathaniel Holland. Christian,Christmas,Contemporary. Score and parts. 60 pages. James Nathan...
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Full Orchestra - Level 4 - SKU: A0.730316 Composed by James Nathaniel Holland. Christian,Christmas,Contemporary. Score and parts. 60 pages. James Nathaniel Holland #2890667. Published by James Nathaniel Holland (A0.730316). NEW CHRISTMAS MUSIC!! Carol (Villagers All This Frosty Morn) from Kenneth Grahame's classic novel The Wind in the Willows and arranged from the ballet, The Wind in the Willows by American composer James Nathaniel Holland. Here in complete anthem form with orchestral accompaniment. Perfect for a children's Christmas concert.Instrumentation: Fl12, Ob12, EH, ClBb 12, BCl, Bsn 12, Cbsn, HrnF 1234, Trmp Bb12, Trmb, Tba, Timp, Perc (hand cym, sus. cym w/mallet, tri), glock, pno, stringsFull score in concert pitch and parts Included.Scene Synopsis: The scene opens as Rat has succumbed to winter hibernation in front of his cozy fire. Mole takes the opportunity to return to his home, once neat tidy this past spring, now abandoned and neglected due to his adventures with Mr. Toad and with Rat over the summer and autumn. Mole hears singing outside his window and opens the door to carolers. It's a winter wonderland and he dances to music of this carol, announcing the joy all the animals felt when the baby Jesus was born on Christmas day.
$21.95
Autumn tableau
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Dario Duarte
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Autumn tableau
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Dario Duarte
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1080608 By Dario Duarte. By Dario Duarte. Classical,Contemporary,Folk,Multicultural,World. Score and parts. 45 pages....
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Full Orchestra - Level 4 - SKU: A0.1080608 By Dario Duarte. By Dario Duarte. Classical,Contemporary,Folk,Multicultural,World. Score and parts. 45 pages. Dario Duarte #684825. Published by Dario Duarte (A0.1080608). The piece consists of a description of a small tableau with an autumn theme in an idyllic town. In the region of the Latin American Andes, more precisely the tableau called ayacuchano is an art form very representative of the folklore of the region. Taking this idea of micro-stories, the work narrates four scenes of a day that begins at dawn and ends with the town's festival. Each story corresponds to the four sections of the music, which are performed successively. First tableau: Autumn morning lights. The change of season is perceived in the ashen morning lights of the autumn season, the sun rises lightly with a slight warmth, giving the ochre color that dominates the landscape a sense of tranquility and reflectiveness. The mood of this piece is one of contemplation. Second tableau: Noon in the town The tableau opens. It is midday. The whole town is busy with preparations for the harvest festival celebration. The music goes by with the sounds of the town and the joy of the inhabitants for the important festivity they are about to share as a community. The whole town is a great hustle and bustle. You hear barrel organs, feel the excitement of hanging banners and decorating the houses for the main parade. Third tableau. Little song for siesta time. A nostalgic voice sings an old folk song to lull the children to sleep. The voices of other adults of the town intertwine to sing a song to the sleeping children. It is a tender song that recovers the stillness and tranquility of the town at the hour when everyone returns to their homes to rest. Fourth tableau: Night of celebration. Harvest Festival The first chords of the town band can be heard in the distance, a melody invites to enter with enthusiasm to the place where the festival will take place. The dance begins, the band plays energetically and everyone participates in a dance of joy. In the most important moment of the party, the town's hymn is played, everyone joins in one voice to sing the song that distinguishes them. And now: the announcement of the winners of the harvest contest. Someone is honored and everyone applauds vigorously. Then the dancing continues again. Everyone occupies the center of the dance floor and enjoys being part of a colorful celebration of unity for the town. Instragram (to be contacted by the instrumental parts): @darioduartenunez.
$15.99
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