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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
Fix You
Non classifié
73
Piano & claviers
Piano seul
96
Piano Facile
36
Piano, Voix et Guitare
26
Piano, Voix
25
Piano grosses notes
6
Accompagnement Piano
2
Instruments en Do
2
Piano Trio: piano, violon, violoncelle
2
Orgue
2
1 Piano, 4 mains
1
Piano (partie séparée)
1
Clavecin
1
+ 7 instrumentations
Retracter
Guitares
Guitare notes et tablatures
20
Ukulele
7
Guitare
6
Ligne De Mélodie, (Paroles) et Accords
6
Paroles et Accords
2
Basse electrique
1
Piano, Guitare (duo)
1
2 Guitares (duo)
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
48
Chorale 3 parties
18
Chorale TTBB
15
Chorale SSAA
13
Voix duo, Piano
13
Chorale 2 parties
8
Chorale
2
Voix seule
2
Chorale Unison
2
Voix Tenor, Piano
1
Pack Instrumental pour Chorale
1
Voix Soprano, Piano
1
Chorale SSATTB
1
+ 8 instrumentations
Retracter
Vents
Saxophone
24
Flûte traversière
14
Clarinette
12
Saxophone Alto
6
2 Saxophones (duo)
5
Saxophone Tenor
4
Saxophone, Clarinette (duo)
3
Flûte traversière et Piano
3
Quatuor de Saxophones: 4 saxophones
3
Hautbois (partie séparée)
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Saxophone (partie séparée)
3
Hautbois, Piano (duo)
2
Flûte, Hautbois, Clarinette, Basson
2
Clarinette, Violon (duo)
2
Saxophone Alto et Piano
2
Flûte, Alto (duo)
1
Clarinette Basse, Piano
1
Saxophone Baryton, Piano
1
Quatuor de Flûtes : 4 flûtes
1
Clarinette et Piano
1
Cor anglais, Piano
1
Ensemble de saxophones
1
Quintette de Clarinettes: 5 clarinettes
1
Saxophone Tenor et Piano
1
Saxophone Soprano et Piano
1
2 Hautbois (duo)
1
Clarinette, Trompette (duo)
1
Flûte, Violon
1
Hautbois, Flûte
1
Clarinette et Alto
1
Quintette de Saxophone: 5 saxophones
1
2 Flûtes traversières (duo)
1
Hautbois, Clarinette (duo)
1
Quatuor de Clarinettes: 4 clarinettes
1
Flûte, Violoncelle, Piano (trio)
1
2 Clarinettes (duo)
1
Ensemble de Clarinettes
1
Hautbois, Basson (duo)
1
+ 34 instrumentations
Retracter
Cuivres
Trompette
11
Trombone
10
Trombone et Piano
3
Cor
3
Trompette, Piano
2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2
Trompette, Saxophone (duo)
2
Cor et Piano
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Quatuor de cuivres: 4 trombones
1
Cor anglais, Piano
1
Ensemble de Trombones
1
Euphonium, Piano (duo)
1
Tuba et Piano
1
Trompette, Trombone (duo)
1
2 Trompettes (duo)
1
+ 11 instrumentations
Retracter
Cordes
Violon
19
Quatuor à cordes: 2 violons, alto, violoncelle
14
Violoncelle
11
Alto seul
8
Contre Basse
6
Violoncelle, Piano
6
Harpe
5
Violon et Piano
5
Trio à Cordes: violon, alto, violoncelle
4
Violon, Violoncelle (duo)
3
2 Altos (duo)
2
2 Violons (duo)
2
Alto, Violoncelle (duo)
1
Harpe, Voix
1
Alto (partie séparée)
1
Alto, Piano
1
Violon, Alto (duo)
1
2 Harpes (duo)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Trio à cordes
1
Contrebasse (partie séparée)
1
Trio à Cordes: 2 violons, violoncelle
1
2 Violoncelles (duo)
1
+ 18 instrumentations
Retracter
Orchestre & Percussions
Orchestre
10
Orchestre d'harmonie
4
Batterie
4
Cloches
3
Ensemble de Percussions
2
Ensemble de cuivres
2
Orchestre à Cordes
2
Xylophone
1
Orchestre de chambre
1
+ 4 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)
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ASIE
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CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
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ENFANTS : EVEIL - IN…
FILM - TV
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FLAMENCO
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
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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
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Nouveautes
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difficulté (tous)
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Crtitères actifs :
Fix You
Orchestre
Partitions à imprimer
10 partitions trouvées
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1
Fix You
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Coldplay
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Daniel Brinsmead
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Fix You
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Daniel Brinsmead
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1181432 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Daniel Brinsmead. Co...
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Full Orchestra - Level 4 - SKU: A0.1181432 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Daniel Brinsmead. Contemporary,Pop,Rock. Score and Parts. 55 pages. Daniel Brinsmead #781250. Published by Daniel Brinsmead (A0.1181432). Coldplay's 'Fix You' arranged for full concert orchestra.
$80.00
Fix You
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Film/TV
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Javier Colon
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Fix You
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BowString Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.986765 By Javier Colon. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Simply Three and ...
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Full Orchestra - Level 4 - SKU: A0.986765 By Javier Colon. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Simply Three and Johannes Bowman (BowString Music). Film/TV. Score and parts. 61 pages. BowString Music #6401181. Published by BowString Music (A0.986765). Fix You and Clocks (Simply 3 cover)arranged by Simply 3 (soloist parts) and Johannes Bowman (orchestra parts)Soloists: violin solo, cello solo, bass solo (with percussion played on the bass)Orchestra: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, alto saxophone (optional), contrabassoon (optional) 4 horns in F, 3 trumpets in Bb, 3 trombones, tuba3 Percussionists: 1. timpani/claves, 2. 1st triangle, maracas, glockenspiel, crash cymbals, tamtam 3. suspended cymbal, 2nd triangle, egg shakerHarpStrings (1st violins, 2nd violins, violas, cellos, basses).
$75.00
Coffee And A Scone - Score Only
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Orchestre
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INTERMÉDIAIRE
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Zane Kuchera
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Zane Kuchera
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Coffee And A Scone - Score Onl
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Zane Kuchera Music
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1148887 By Zane Kuchera. By words: Zoë aan de Wiel, music: Zane Kuchera. Arranged by Zane Kuchera. Broadway,Classi...
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Full Orchestra - Level 3 - SKU: A0.1148887 By Zane Kuchera. By words: Zoë aan de Wiel, music: Zane Kuchera. Arranged by Zane Kuchera. Broadway,Classical,Film/TV,Jazz,Musical/Show,Pop. Score and parts. 6 pages. Zane Kuchera Music #749024. Published by Zane Kuchera Music (A0.1148887). 12/9/22 Zane Kuchera Music released “Coffee And A Scone†(AC/Jazz/Cabaret) - “Coffee and a Scone†is about a relationship that didn't end in the best way, so there's a last meeting to talk everything out. And in your head you keep reminding yourself it's just a coffee and a scone, one last talk that's not gonna fix anything between you two, but deep down you find it difficult to let the other person go. Words: Zoë aan de Wiel (Amsterdam), Music & performance: Zane Kuchera (zanekuchera.com) https://album.link/kg4bpm8v5pdjg.
$4.99
Rap Symphony
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Orchestre
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AVANCÉ
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David Chesky
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Rap Symphony
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Pamaluc Music
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.882396 Composed by David Chesky. Contemporary,Jazz. Score and parts. 69 pages. Pamaluc Music #18967. Published by Pam...
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Full Orchestra - Level 5 - SKU: A0.882396 Composed by David Chesky. Contemporary,Jazz. Score and parts. 69 pages. Pamaluc Music #18967. Published by Pamaluc Music (A0.882396). The Rap Symphony for large orchestra featuring two rappers is about a transitional society, a society that is shifting from the word to the image. Our civilization once used to believe in depth and reading and art; now abstract thought is changing into a simplistic, superficial society where one is consumed with the quick Starbucks or Twitter fix. It's all lightness of being today. We don't celebrate anticipation anymore, people don't want to put the time in. This symphony is about the collapse of that whole ethos. The phrase in the lyrics that says 'kill the philharmonic' doesn't mean that literally. It's a metaphor for a society that has no use for the philharmonic. We're losing these things. Pretty soon John Coltrane and Miles Davis, along with all jazz and classic music, will become museum pieces. We used to have a culture that cherished these, but in a super simplistic society, there's just no room for them. Duration 19.38 min 3fl./ 2ob./ 2cl./ B.Cl/ 2bs./ cbsn/ 4hrns./ 3 tpts./ 3tbns./ tuba / tymp./ 6 perc./ harp/ strings View the video here https://www.youtube.com/watch?v=8XAuO9Rm3Cs.
$4.98
Mark Brymer: Fix You (complete set of parts) - orchestra/band
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Orchestre
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INTERMÉDIAIRE
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Rock
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Mark Brymer
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Virtualsheetmusic
Instantly printable sheet music by Mark Brymer for orchestra/band of MEDIUM skill level. / pop,rock,concert
Instantly printable sheet music by Mark Brymer for orchestra/band of MEDIUM skill level. / pop,rock,concert
$29.99
Mark Brymer: Fix You (COMPLETE) for orchestra
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Orchestre
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INTERMÉDIAIRE
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Mark Brymer
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Virtualsheetmusic
Instantly downloadable sheet music by Mark Brymer for orchestra of MEDIUM skill level.
Instantly downloadable sheet music by Mark Brymer for orchestra of MEDIUM skill level.
$36.99
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
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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
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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: A0.1008375 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
Planing
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Adrian Gurung
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Adrian Gurung
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Planing
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Adrian Gurung
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Full Orchestra - Level 4 - SKU: A0.1284268 By Adrian Gurung. By Adrian Gurung. Arranged by Adrian Gurung. 21st Century,Contemporary,Film/TV. Score and P...
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Full Orchestra - Level 4 - SKU: A0.1284268 By Adrian Gurung. By Adrian Gurung. Arranged by Adrian Gurung. 21st Century,Contemporary,Film/TV. Score and Parts. 67 pages. Adrian Gurung #875442. Published by Adrian Gurung (A0.1284268). This is the score to my original composition named, Planing as found on my YouTube channel. The piece explores a technique as the same name as the piece where fixed intervallic structures are moved around to create harmonic variety.
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