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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
Mode Piece
Non classifié
785
Piano & claviers
Piano seul
1 003
Orgue
124
Piano Facile
106
Piano, Voix
62
1 Piano, 4 mains
24
Instruments en Do
19
Piano, Voix et Guitare
16
Piano Trio: piano, violon, violoncelle
9
2 Pianos, 4 mains
8
Clavecin
6
Piano Quatuor: piano, violon, alto, violoncelle
4
Accordéon
3
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Orgue, Piano (duo)
2
1 Piano, 6 mains
1
Accompagnement Piano
1
Orgue, Trompette (duo)
1
+ 12 instrumentations
Retracter
Guitares
Guitare
127
Guitare notes et tablatures
97
Ukulele
23
Ukulele Baryton
9
2 Guitares (duo)
8
Basse electrique
5
Mandoline
5
4 Guitares (Quatuor)
3
Banjo
3
3 Guitares (trio)
2
Dulcimer
2
Ensemble de guitares
1
Guitare, Violon, Violoncelle (trio)
1
+ 8 instrumentations
Retracter
Voix
Chorale SATB
209
Chorale 3 parties
57
Chorale 2 parties
25
Chorale TTBB
16
Chorale Unison
10
Chorale SSAA
9
Chorale SSAATTBB
3
Voix duo, Piano
3
Voix Soprano, Piano
3
Voix haute
3
Chorale SSATB
1
Voix seule
1
Chorale
1
+ 8 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
89
Flûte traversière et Piano
80
Quatuor de Saxophones: 4 saxophones
76
Clarinette et Piano
76
Hautbois, Piano (duo)
67
Flûte, Hautbois, Clarinette, Basson
64
Saxophone Alto et Piano
57
Flûte traversière
54
Quatuor de Clarinettes: 4 clarinettes
53
Quintette de Saxophone: 5 saxophones
45
2 Saxophones (duo)
38
2 Flûtes traversières (duo)
35
Clarinette
32
Quatuor de Flûtes : 4 flûtes
32
2 Clarinettes (duo)
29
Saxophone Soprano et Piano
28
Saxophone Tenor et Piano
21
Ensemble de saxophones
17
3 Saxophones (trio)
16
Ensemble de Clarinettes
15
Flûte et Guitare
14
Saxophone Alto
14
Saxophone Baryton, Piano
14
Hautbois, Clarinette, Basson (trio d'anches)
10
Hautbois
10
Saxophone Tenor
10
Saxophone, Clarinette (duo)
9
Ensemble de Flûtes
9
Flûte, Hautbois, Clarinette (trio)
8
2 Hautbois (duo)
7
3 Clarinettes (trio)
7
Saxophone Soprano
7
Quintette de Flûte : 5 flûtes
7
Quatuor de Flûtes à bec
7
Trio de Flûtes: 3 flûtes
6
Clarinette, Guitare (duo)
6
Clarinette Basse, Piano
6
Flûte à bec Soprano
6
Flûte, Violoncelle, Piano (trio)
5
Clarinette, Trompette (duo)
5
Quintette de Clarinettes: 5 clarinettes
5
2 Flûte à bec (duo)
5
Clarinette, Violon (duo)
5
Clarinette et Alto
4
Hautbois, Clarinette (duo)
4
Flûte à bec Soprano, Piano
4
Hautbois, Basson (duo)
3
Saxophone Baryton
3
Hautbois, Flûte
3
Flûte, Trompette (duo)
3
Flûte, Violon
3
Flûte, Violon, Piano
3
Hautbois (partie séparée)
3
Cor anglais, Piano
3
Flûte, Saxophone (duo)
3
Flûte, Clarinette (duo)
3
Flûte, Clarinette, Piano (trio)
2
Flûte à Bec
2
2 Cors Anglais Et Pianoforte
2
Saxophone (partie séparée)
2
5 Flûtes à bec
2
Flute, harpe et violon
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Cor Anglais
1
Ensemble à vent
1
Cor anglais et Harpe (duo)
1
Flûte, alto et harpe
1
Flûte à bec Tenor
1
Clarinette, Violoncelle (duo)
1
Flûte à bec Alto, Piano
1
Piccolo
1
2 Flûtes traversières, Piano
1
Saxophone et Guitare
1
Saxophone
1
Flûte à bec Alto, Basse continue
1
Hautbois, Guitare (duo)
1
Flûte, Clarinette et Basson
1
Ensemble De Flûte à bec
1
+ 73 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
79
Quatuor de Cuivres : 2 trompettes, trombone, tuba
56
Trombone et Piano
41
Cor et Piano
32
Trompette, Piano
24
Trompette
19
Tuba et Piano
14
2 Trompettes (duo)
11
Trombone
10
Cor
10
Quatuor de Cuivres
9
Euphonium, Piano (duo)
8
2 Trombones (duo)
7
Trio de Cuivres
7
Quatuor de cuivres: 4 trombones
7
Trombone (partie séparée)
6
Trompette, Saxophone (duo)
6
Trompette, Trombone (duo)
6
Trompette (partie séparée)
6
Ensemble de Trompettes
6
Ensemble de Trombones
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
2 Cors (duo)
5
Tuba
5
2 Euphoniums (duo)
3
Cor anglais, Piano
3
2 Tubas (duo)
3
Quatuor de cuivres: 4 cors
2
Ensemble de Cors
2
2 Cors Anglais Et Pianoforte
2
Cor Anglais
1
Quatuor de cuivres: 4 trompettes
1
Trompette, Euphonium (duo)
1
Cor anglais et Harpe (duo)
1
Trombone, Orgue
1
Trompette, Orchestre
1
2 Euphoniums et 2 Tubas
1
Cor, Violoncelle (duo)
1
3 Trombones (trio)
1
3 Trompettes (trio)
1
+ 35 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
197
Violon et Piano
78
Harpe
77
Violoncelle, Piano
68
Violon
48
Alto, Piano
39
Violoncelle
35
Trio à Cordes: violon, alto, violoncelle
22
Alto seul
22
Violon, Violoncelle (duo)
19
2 Violons (duo)
19
Quintette à cordes: 2 violons, alto, violoncelle, basse
17
Violon (partie séparée)
13
Contrebasse, Piano (duo)
13
2 Violoncelles (duo)
10
Violon, Alto (duo)
9
Contre Basse
9
2 Altos (duo)
6
Alto (partie séparée)
5
Violoncelle (partie séparée)
5
Harpe, Flûte (duo)
5
2 Harpes (duo)
4
Violon, Guitare (duo)
4
Alto, Guitare (duo)
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Violoncelle , Guitare (duo)
4
Trio à Cordes: 3 violoncelles
4
Trio à Cordes: 2 violons, violoncelle
4
2 Contrebasses (duo)
4
Contrebasse (partie séparée)
3
Ensemble de Violons
3
Trio à cordes: 3 violins
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle, Contrebasse (duo)
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Ensemble de Violoncelles
2
4 Violoncelles
2
Alto, Violoncelle (duo)
1
Quatuor à cordes : 4 altos
1
Ensemble d'Altos
1
Trio à cordes
1
4 Contrebasses
1
Violon, Basson (duo)
1
+ 38 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
306
Orchestre à Cordes
117
Orchestre
86
Ensemble Jazz
47
Cloches
39
Orchestre de chambre
31
Ensemble de cuivres
30
Jazz combo
12
Ensemble de Percussions
7
Fanfare
6
Marimba
5
Batterie
4
Xylophone, Piano
3
Percussion (partie séparée)
1
Batterie (partie séparée)
1
Marimba, Piano (duo)
1
Timbales
1
+ 12 instrumentations
Retracter
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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
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SAXOPHONE
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TROMPETTE
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Vous avez sélectionné:
Mode Piece
Orchestre
Partitions à imprimer
86 partitions trouvées
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51
76
Pieces of Loathing: Thugnderdome
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Orchestre
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AVANCÉ
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Michael Jeffrey Indrawan
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Pieces of Loathing: Thugnderdo
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Man Model Music
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1118972 Composed by Michael Jeffrey Indrawan. Contemporary,March. Score and Parts. 115 pages. Man Model Music #720379...
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Full Orchestra - Level 5 - SKU: A0.1118972 Composed by Michael Jeffrey Indrawan. Contemporary,March. Score and Parts. 115 pages. Man Model Music #720379. Published by Man Model Music (A0.1118972). A piece (somewhat) based on things in Asymmetric’s Kingdom of Loathing! This movement is a march, with a rousing half and a calming other half.
$37.00
Horn Concerto in F major - 1st mvt. 'Allegro moderato' (Piano Reduction & Solo part)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Daniel Leo Simpson
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Horn Concerto in F major - 1st
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ScorePerfect
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SheetMusicPlus
Instrumental Duet Horn,Instrumental Duet,Piano - Level 3 - SKU: A0.860441 Composed by Daniel Leo Simpson. Classical. Score and parts. 26 pages. ScorePer...
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Instrumental Duet Horn,Instrumental Duet,Piano - Level 3 - SKU: A0.860441 Composed by Daniel Leo Simpson. Classical. Score and parts. 26 pages. ScorePerfect #2032015. Published by ScorePerfect (A0.860441). Concerto in F major for Horn & Orchestra - 1st mvt. Allegro moderato - Piano reduction of orchestra part with solo part above and separate Horn part for performance. A classic addition to the horn repertory by San Francisco's award-winning composer Daniel Leo Simpson. This show piece is perfect for the advanced intermediate player. A modern classic in true Simpson tradition. A delight for audience and players alike.
$5.99
Horn Concerto in F major - 1st mvt. 'Allegro moderato' (Piano Reduction & Solo part)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Daniel Leo Simpson
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Horn Concerto in F major - 1st
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ScorePerfect
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SheetMusicPlus
Instrumental Duet Horn,Instrumental Duet,Piano - Level 4 - SKU: A0.860424 Composed by Daniel Leo Simpson. Classical,Contemporary. Score and parts. 26 pa...
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Instrumental Duet Horn,Instrumental Duet,Piano - Level 4 - SKU: A0.860424 Composed by Daniel Leo Simpson. Classical,Contemporary. Score and parts. 26 pages. ScorePerfect #431053. Published by ScorePerfect (A0.860424). Concerto in F major for Horn & Orchestra - 1st mvt. Allegro moderato - Piano reduction of orchestra part with solo part above and separate Horn part for performance. A classic addition to the horn repertory by San Francisco's award-winning composer Daniel Leo Simpson. This show piece is perfect for the advanced intermediate player. A modern classic in true Simpson tradition. A delight for audience and players alike.
$5.99
Southwood - Modern Symphony for small orchestra
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Orchestre
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AVANCÉ
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Contemporain
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Rudy Volkmann
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Southwood - Modern Symphony fo
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Rudy Volkmann
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1005640 Composed by Rudy Volkmann. Contemporary. Score and parts. 225 pages. Rudy Volkmann #6073661. Published by Rud...
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Full Orchestra - Level 5 - SKU: A0.1005640 Composed by Rudy Volkmann. Contemporary. Score and parts. 225 pages. Rudy Volkmann #6073661. Published by Rudy Volkmann (A0.1005640). Southwood is a 20-minute, three-movement symphony for small (Schubert-sized) orchestra with an expanded percussion section. It is melodic, structured on classical formal models, and often harmonically dissonant (employing mixed meters as well). It is scored for 2 Flutes ( II d. Piccolo), 2 Oboes ( II d. English Horn), 2 Bb Clarinets ( II d. Bass Clarinet), 2 Bassoons, 2 French Horns, 2 Trumpets in C, Timpani, Xylophone (both soft and hard mallets), Snare Drum, Bass Drum, Auxiliary Percussion (2 players - including Cymbals, Suspended Cymbal, Tambourine, Triangle, Large Gong, and Mark Tree), and Strings. The FINALE mp3 gives you the feel for the piece, but FINALE’S un-pitched percussion sound files are inadequate to convey the real feel of any of those instruments. In addition, several effects such as string glissandos, Suspended Cymbal coin edge slides, and the Mark Tree parts are simply missing.
$95.00
Concert Piece for 4 instruments and orchestra (Robert Schumann)
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Orchestre
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Contemporain
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Robert Schumann
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Brock Lupton
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Concert Piece for 4 instrument
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Brock Lupton
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SheetMusicPlus
Full Orchestra - SKU: A0.942412 Composed by Robert Schumann (1810-1856). Arranged by Brock Lupton. Contemporary. Score and parts. 189 pages. Brock Lupto...
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Full Orchestra - SKU: A0.942412 Composed by Robert Schumann (1810-1856). Arranged by Brock Lupton. Contemporary. Score and parts. 189 pages. Brock Lupton #4616367. Published by Brock Lupton (A0.942412). This is one of the lesser-known works of composer Robert Schumann. It was composed in 1849 and introduced in Leipzig on February 25, 1850. There are several possible reasons for the comparative unfamiliarity of this work which, despite its modest title, is a full-fledged 3-movement concerto for four very accomplished French horn players with orchestra. In its original configuration, the work exploits the newly-invented valved French horn. (The horn and trumpet were natural instruments – like today’s bugles, with no valves – until about 1835.) The concerto establishes a festive character at the outset, and becomes almost feverish as the excitement expands. The slow movement (Romanze) typifies another side of the composer, expansive and tender. It leads directly into the third (final) movement which brings together the various elements in an outburst of sheer joy.The title to which this note is attached is my re-orchestration of the accompaniment (score and all orchestral parts). Three different ensemble versions are also available from SMP. Any of these is compatible with the orchestral score and parts.
$15.00
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. 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
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
Five Stones
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Phillip Rawle
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Five Stones
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824329 Composed by Phillip Rawle. Contemporary. Score and parts. 91 pages. Phillip Rawle #2036567. Published by Phill...
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Full Orchestra - Level 3 - SKU: A0.824329 Composed by Phillip Rawle. Contemporary. Score and parts. 91 pages. Phillip Rawle #2036567. Published by Phillip Rawle (A0.824329). A modern piece for Orchestra.
$5.00
Eristic Forms - 1st Mvt.
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Orchestre
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INTERMÉDIAIRE
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Phil Rawle
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Eristic Forms - 1st Mvt.
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824577 Composed by Phil Rawle. Concert,Contemporary. Score and parts. 44 pages. Phillip Rawle #4784009. Published by ...
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Full Orchestra - Level 3 - SKU: A0.824577 Composed by Phil Rawle. Concert,Contemporary. Score and parts. 44 pages. Phillip Rawle #4784009. Published by Phillip Rawle (A0.824577). The first of three movements of a modern piece - Eristic Forms - for small orchestra.
$5.00
Tea Square
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Orchestre
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Contemporain
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Phillip Rawle
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Tea Square
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - SKU: A0.824313 Composed by Phillip Rawle. Contemporary. Score and parts. 53 pages. Phillip Rawle #2032921. Published by Phillip Rawle (...
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Full Orchestra - SKU: A0.824313 Composed by Phillip Rawle. Contemporary. Score and parts. 53 pages. Phillip Rawle #2032921. Published by Phillip Rawle (A0.824313). A short, light hearted, modern piece for orchestra.
$10.00
Maybe Nothing - for small orchestra
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Orchestre
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INTERMÉDIAIRE
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Phil Rawle
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Maybe Nothing - for small orch
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824589 Composed by Phil Rawle. Concert,Contemporary,Jazz. Score and parts. 69 pages. Phillip Rawle #4980183. Publishe...
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Full Orchestra - Level 3 - SKU: A0.824589 Composed by Phil Rawle. Concert,Contemporary,Jazz. Score and parts. 69 pages. Phillip Rawle #4980183. Published by Phillip Rawle (A0.824589). A modern piece for small orchestra,
$5.00
Impulsive - A work for small orchestra
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Orchestre
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INTERMÉDIAIRE
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Phil Rawle
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Impulsive - A work for small o
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824572 Composed by Phil Rawle. Concert,Contemporary,Jazz. Score and parts. 43 pages. Phillip Rawle #4767101. Publishe...
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Full Orchestra - Level 3 - SKU: A0.824572 Composed by Phil Rawle. Concert,Contemporary,Jazz. Score and parts. 43 pages. Phillip Rawle #4767101. Published by Phillip Rawle (A0.824572). A short, modern piece for small orchestra.
$5.00
Contentment - A Work for Small Orchestra
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Orchestre
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INTERMÉDIAIRE
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Phil Rawle
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standard orchestra.
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Contentment - A Work for Small
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824574 Composed by Phil Rawle. Concert,Contemporary. Score and parts. 46 pages. Phillip Rawle #4775367. Published by ...
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Full Orchestra - Level 3 - SKU: A0.824574 Composed by Phil Rawle. Concert,Contemporary. Score and parts. 46 pages. Phillip Rawle #4775367. Published by Phillip Rawle (A0.824574). An up-tempo, modern piece for a small, standard orchestra. Fun to play
$5.00
Wheel of Fortune
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Phillip Rawle
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Wheel of Fortune
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.824328 Composed by Phillip Rawle. Contemporary. Score and parts. 68 pages. Phillip Rawle #2036565. Published by Phill...
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Full Orchestra - Level 4 - SKU: A0.824328 Composed by Phillip Rawle. Contemporary. Score and parts. 68 pages. Phillip Rawle #2036565. Published by Phillip Rawle (A0.824328). A modern piece for Orchestra. The middle section is in 12 tone form (tone row) but dispite this, is quite melodic. The twelve notes represent the twelve star signs.
$5.00
Sincerity - A Work for Small Orchestra
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Orchestre
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INTERMÉDIAIRE
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Phil Rawle
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Sincerity - A Work for Small O
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824575 Composed by Phil Rawle. Concert,Contemporary,Jazz. Score and parts. 34 pages. Phillip Rawle #4777569. Publishe...
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Full Orchestra - Level 3 - SKU: A0.824575 Composed by Phil Rawle. Concert,Contemporary,Jazz. Score and parts. 34 pages. Phillip Rawle #4777569. Published by Phillip Rawle (A0.824575). A modern piece with hamonies that give it a jazz feel.
$5.00
Eristic Forms - 2nd Mvt.
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Orchestre
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INTERMÉDIAIRE
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Phil Rawle
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Eristic Forms - 2nd Mvt.
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824576 Composed by Phil Rawle. Concert,Contemporary. Score and parts. 45 pages. Phillip Rawle #4782657. Published by ...
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Full Orchestra - Level 3 - SKU: A0.824576 Composed by Phil Rawle. Concert,Contemporary. Score and parts. 45 pages. Phillip Rawle #4782657. Published by Phillip Rawle (A0.824576). The second of three movements of a modern piece - Eristic Forms - for small orchestra.
$5.00
Firefly
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Orchestre
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INTERMÉDIAIRE
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Phillip Rawle
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Firefly
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824342 Composed by Phillip Rawle. Blues,Contemporary. Score and Parts. 19 pages. Phillip Rawle #12429. Published by P...
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Full Orchestra - Level 3 - SKU: A0.824342 Composed by Phillip Rawle. Blues,Contemporary. Score and Parts. 19 pages. Phillip Rawle #12429. Published by Phillip Rawle (A0.824342). A modern piece for orchestra. more than a hint of the blues in this number. Should be suitable for most amateur orchestras.
$5.00
Patetico. No.5 from Seven Episodes for Orchestra
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Phillip Rawle
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Patetico. No.5 from Seven Epis
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824322 Composed by Phillip Rawle. Contemporary. Score and parts. 24 pages. Phillip Rawle #2033371. Published by Phill...
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Full Orchestra - Level 3 - SKU: A0.824322 Composed by Phillip Rawle. Contemporary. Score and parts. 24 pages. Phillip Rawle #2033371. Published by Phillip Rawle (A0.824322). One of seven short, light, modern pieces for Orchestra.
$20.00
Largo.No. 2 from Seven Episodes for Orchestra
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Phillip Rawle
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Largo.No. 2 from Seven Episode
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824320 Composed by Phillip Rawle. Contemporary. Score and parts. 11 pages. Phillip Rawle #2033357. Published by Phill...
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Full Orchestra - Level 3 - SKU: A0.824320 Composed by Phillip Rawle. Contemporary. Score and parts. 11 pages. Phillip Rawle #2033357. Published by Phillip Rawle (A0.824320). One of seven short, light, modern pieces for Orchestra.
$20.00
Andante. No. 1 from Seven Episodes for Orchestra
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Phillip Rawle
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Andante. No. 1 from Seven Epis
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824317 Composed by Phillip Rawle. Contemporary. Score and parts. 10 pages. Phillip Rawle #2033353. Published by Phill...
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Full Orchestra - Level 3 - SKU: A0.824317 Composed by Phillip Rawle. Contemporary. Score and parts. 10 pages. Phillip Rawle #2033353. Published by Phillip Rawle (A0.824317). One of seven short, light, modern pieces for Orchestra.
$20.00
Cantilena. No.4 from Seven Episodes for Orchestra
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Phillip Rawle
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Cantilena. No.4 from Seven Epi
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Phillip Rawle
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.824321 Composed by Phillip Rawle. Contemporary. Score and parts. 15 pages. Phillip Rawle #2033359. Published by Phill...
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Full Orchestra - Level 3 - SKU: A0.824321 Composed by Phillip Rawle. Contemporary. Score and parts. 15 pages. Phillip Rawle #2033359. Published by Phillip Rawle (A0.824321). One of seven short, light, modern pieces for Orchestra.
$20.00
Symphony in One Movement
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Mandy Weaver
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Symphony in One Movement
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Mandy Weaver
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1015404 Composed by Mandy Weaver. Contemporary. Score and parts. 66 pages. Mandy Weaver #4764615. Published by Mandy ...
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Full Orchestra - Level 4 - SKU: A0.1015404 Composed by Mandy Weaver. Contemporary. Score and parts. 66 pages. Mandy Weaver #4764615. Published by Mandy Weaver (A0.1015404). Symphony in One Movement is a symphony in D Major with sections of different character melded into one fluid work by a recurring theme. Inspired by historical pieces such as Prokofiev's Classical Symphony, it references classical music yet also has a modern sound. It is scored for full orchestra. Approximately 10 minutes in duration, it allows orchestras to play a full symphonic piece in a shorter amount of time than a standard symphony. It is appropriate for students, community groups, and other orchestral ensembles. To contact the composer, please send an email to mweaver1@luc.edu.
$40.00
Theme and Variations on a Chinese New Year Theme for Extended Orchestra - Set of all parts
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Jeremy Goh, Daniel Cheng
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Theme and Variations on a Chin
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Jeremy Goh
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1027336 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 78 pages. Jeremy Goh #12125. Published b...
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Full Orchestra - Level 3 - SKU: A0.1027336 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 78 pages. Jeremy Goh #12125. Published by Jeremy Goh (A0.1027336). We present a work composed as a tongue-in-cheek expression of a popular street tune heard today, put through a series of 5 variations that explore different styles. It works in both a satirical as well as sophisticated manner vertically and horizontally, and uses multiple cliches that will get the audience perking up in recognition. The theme, 贺新年, is a common tune sung in Chinese New Year celebrations. In the heart of celebrating the New Year, this piece is written playable by musicians of all ages, whether in schools or as community orchestras and bands, to come together by the common celebratory notion in a work for an extended orchestra, including the saxophone and euphonium. Written by Daniel Cheng and Jeremy Goh, we hope that this season this piece can bring both laughter and reverence to the street tune, blown out of proportion in style and size. Starting the work is an atonal entry, built on tone rows and planing, legacies of Shoenberg and his contemporaries, before decomposing into an exceedingly lively statement of the theme. This is then juxtaposed beside a trip to tribal communities with interlocking rhythms and a modal distortion of the melody. From the modal mess and deviation from diatonicism, we then return to the prim and proper style of Mozart and Haydn in a short Classical variation. As if to mock its neat stature, this then is shattered with a juxtaposition beside a variation in the style of Shostakovich, modelled after the controversial Leningrad symphony, which draws on a different dimension of the theme, its banality, and propagating and emulsifying it to terrifying levels as it is distorted. Finally, a schreckenfanfare is directed marking an entry into a tribute to one of the greatest legends in music composition, with Beethoven along with its transcendental qualities of cyclism, and use of learned styles, methods of maintaining tension etc., bringing a grand ending to the 10 minute long work.
$4.99
The Parting Glass
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Orchestre
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INTERMÉDIAIRE
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Scottish Traditional
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Josiah V
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The Parting Glass
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Josiah V. Smiddy
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1032233 Composed by Scottish Traditional. Arranged by Josiah V. Smiddy. Folk,World. Score and parts. 31 pages. Josiah...
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Full Orchestra - Level 3 - SKU: A0.1032233 Composed by Scottish Traditional. Arranged by Josiah V. Smiddy. Folk,World. Score and parts. 31 pages. Josiah V. Smiddy #4615131. Published by Josiah V. Smiddy (A0.1032233). This arrangement of The Parting Glass is written for full orchestra with tacet percussion and modeled after the style of the of the Irish supergroup, Celtic Woman. The Parting Glass is in the same vein as Auld Lang Syne but is still sung traditionally by the Irish though not so much by the Scottish. The original lyrics from this song describe a person bidding farewell to a good friend who is leaving and my not return. This arrangement opens with a cadenza solo from the principal cello that is intended to set the tone of the piece in that sorrowful dismissal of a good friend. It is intentionally written with basic instrumentation. It does not stretch the ranges too far, but still provides some technical and musical challenges to your ensemble. This would be a great performance piece for a high school or community orchestra.
$30.00
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