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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
Night Rag
Non classifié
100
Piano & claviers
Piano seul
75
Piano, Voix
34
Piano, Voix et Guitare
28
Piano Facile
7
Instruments en Do
6
Orgue
5
Piano Trio: piano, violon, violoncelle
1
Accompagnement Piano
1
+ 3 instrumentations
Retracter
Guitares
Guitare notes et tablatures
9
Guitare (partie séparée)
2
Guitare
2
Ukulele
1
Basse electrique
1
Voix
Chorale SATB
27
Chorale TTBB
7
Chorale 3 parties
3
Chorale 2 parties
2
Voix duo, Piano
1
Voix duo
1
Voix, Guitare
1
Chorale Unison
1
Chorale SSAA
1
+ 4 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
14
Flûte traversière et Piano
13
Quintette de Saxophone: 5 saxophones
10
2 Saxophones (duo)
8
Clarinette et Piano
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
Hautbois, Piano (duo)
7
Saxophone Alto et Piano
7
Flûte, Hautbois, Clarinette, Basson
6
Ensemble de saxophones
6
Saxophone Tenor et Piano
5
Saxophone (partie séparée)
5
2 Flûtes traversières (duo)
5
2 Clarinettes (duo)
4
2 Hautbois (duo)
4
3 Saxophones (trio)
4
5 Flûtes à bec
4
Quatuor de Clarinettes: 4 clarinettes
4
Flûte à Bec
3
Quatuor de Flûtes à bec
3
Saxophone Alto
3
Flûte à bec Soprano
3
Clarinette
3
Saxophone Soprano et Piano
2
Ensemble de Clarinettes
2
Hautbois (partie séparée)
2
Flûte, Hautbois, Piano (trio)
2
Ensemble de Flûtes
1
2 Saxophones, Piano
1
Quintette de Clarinettes: 5 clarinettes
1
Flûte à bec Alto
1
Quatuor de Flûtes : 4 flûtes
1
Flûte traversière
1
Clarinette Basse, Piano
1
Flûte et Guitare
1
Flûte, Hautbois (duo)
1
Saxophone Baryton, Piano
1
Clarinette, Guitare (duo)
1
Quintette de Flûte : 5 flûtes
1
+ 34 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
11
Tuba et Piano
6
Trompette, Piano
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Trombone (partie séparée)
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
2 Trompettes (duo)
4
Cor et Piano
4
Trombone et Piano
4
2 Trombones (duo)
3
Trompette (partie séparée)
3
Euphonium, Piano (duo)
3
Ensemble de Trombones
2
Trombone
2
2 Cors (duo)
2
Tuba
1
Trompette
1
Cor
1
+ 13 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
16
Violon et Piano
12
Alto, Piano
8
Violoncelle, Piano
7
Trio à Cordes: violon, alto, violoncelle
4
2 Violons (duo)
4
2 Violoncelles (duo)
3
Violon
3
2 Altos (duo)
3
Harpe
3
Violoncelle
2
Alto seul
2
Violon, Violoncelle (duo)
2
Contrebasse (partie séparée)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violon, Alto (duo)
1
Ensemble d'Altos
1
Ensemble de Violons
1
+ 13 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
32
Ensemble Jazz
22
Orchestre
13
Orchestre à Cordes
11
Ensemble de cuivres
7
Orchestre de chambre
4
Jazz combo
3
Batterie
2
Ensemble de Percussions
1
Cloches
1
Batterie (partie séparée)
1
Fanfare
1
+ 7 instrumentations
Retracter
Autres
Théorie de la musique
1
Partitions Gratuites
Instruments
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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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TRI ET FILTRES
TRI ET FILTRES
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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
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ENFANTS : EVEIL - IN…
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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…
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METHODE : TECHNIQUES
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OPERA
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Night Rag
Orchestre
Partitions à imprimer
13 partitions trouvées
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RAGING FURIES - Goettinnen der Rache
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Rainer Fabich Orchestra
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Rainer Fabich
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RAGING FURIES - Goettinnen der
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Fajora Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classical,Contemporary,...
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Full Orchestra - Level 4 - SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classical,Contemporary,Film/TV. Score and Parts. 212 pages. Fajora Music #821876. Published by Fajora Music (A0.1225840). RAGING FURIES - Rasende FurienGoddesses of revenge - Göttinnenn der RageConcert Piece for big orchestra - Score and PartsThe image of the raging furies as a topos has permeated the world of thoughts and images of mankind for thousands of years and has inspired and fascinated countless artists.This idea is also based on an emotional background, a violent, uncontrolled emotional outburst, a rage (Latin: furor, in the sense of frenzy, passion and madness, French: rage). The resulting affect action is described as rage or fury, combined with a state of mind of uncontrolled excitement in the sense of being beside oneself or out of one's senses.The personification of these affects was in Greek and Roman mythology with the trio of vengeance goddesses, the Erinyens (Latin furia) called: Alekto (the incessant, the never resting), Megaira (German: Megäre, the envious anger) and Tisiphone (the Vengeance avenging the murder, represented with a dog's head and bat's wings), and another, that of Nemesis (the reconciling justice). Already in antiquity they were depicted in sculptures, embossed on coins or immortalized as images on amphorae.They appear in all eras of fine arts, sometimes in female, male or androgynous form, e.g. as avenging angels, or as hybrid beings between humans and animals. Pictures by Albrecht Dürer, Hieronymus Bosch, Tizian, Peter Paul Rubens, William Hamilton, Johann Heinrich Fuessli, Franz von Stuck, Alfred Kubin, Salvador Dali, Francis Bacon, Yongbo Zhao and many others are proof of this.They found their way into the literature of Virgil (Aeneis), Dante (Divine Comedy) or John Milton (Paradise Lost). Goethe lets them appear in Faust II, Schiller (Die Kraniche des Ibykus) and many others refer to them directly or in a modified form, such as Kurt Tucholsky (Gripsholm Palace), Alfred Döblin (Berlin Alexanderplatz), Max Frisch (Homo Faber) or Jean-Paul Sartre (The Flies).In opera, they become an important element in highly dramatic scenes, especially on themes with a mythological or historical background, often also related to the underworld, as in Monteverdi (Il Ritorno d`Ulisse in Patria), Lully (Armide), Gluck (Orpheus and Euridice) or Purcell (Dido and Aeneas). Haendel dedicates an aria to them in Rinaldo, the Furie Terribili. Mozart also uses it in The Magic Flute, in his aria Der Hölle Rache by the Queen of the Night.Furies appear up to the present in various forms, in comics, fantasy novels, computer games, or kung fu films of the 70s (Furies on the yellow river). They are even popular as plastic children's toys, mostly in particularly frightening and creepy presentations (Matchbox/Fighting Furies or Warhammer/Erinnye). This remarkable history and reception inspired Rainer Fabich to create this new orchestral work from his MYThS series. PEGASUS - Ride on Wings, ULYSSES - Prélude to an Odyssey and THE AMONZS - Myth and Projection have already been released. As the title suggests, this is frantically wild music (Allegro molto vivace) that seems to run away, like an action film with fast motives and runs of strings and woodwinds, combined with strong accents of brass and massive percussion Set. Alternations of straight and asymmetrical beats illustrate erratic sequences of movement, as are typical of scenes with the highest intensity, especially in films (e.g. a chase). In the jazzy middle section, the furies calm down a little, before they pick up speed again in a bombastic third section and increase to the point of ecstasy.
$49.95
Gregory Sullivan Isaacs: Quiet Night for piano and orchestra - score only
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Quiet
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.533285 Composed by Gregory Sullivan Isaacs. 20th Century,Christmas,Contemporary,Sacred. Score and parts. 11 pages. Mu...
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Full Orchestra - Level 4 - SKU: A0.533285 Composed by Gregory Sullivan Isaacs. 20th Century,Christmas,Contemporary,Sacred. Score and parts. 11 pages. Musik Fabrik Music Publishing #2331287. Published by Musik Fabrik Music Publishing (A0.533285). A minimalist piece for Christmas! Written for Jeffrey Biegle and recorded on his Steinway Piano Christmas album, the piece uses fragments of Silent Night to create an impression of a calm, cold, still night. The orchestration is 1120/2220/timp/1perc/hp/strings
$11.95
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
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Orchestre
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AVANCÉ
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Contemporain
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Carson Cooman
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Carson Cooman: Pittsburgh Conc
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Pu...
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Full Orchestra - Level 5 - SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667). Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and isdedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. Thepiece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.The work contains only two specific “programmatically inspired†images related toPittsburgh. They form the outer two sections of the work. The inner four sections areinspired more abstractly by various aspects of the city, its landscapes, and its people; theyfeature a series of solos and duets for many members of the orchestra – in the manner of a“concerto for orchestra.â€The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.Colors and sounds of the clangorous industrial age of America’s past are evoked. The basicmusical material (a six-note cell) for the entire work is presented in this aggressiveintroduction. Throughout the rest of the work, this basic material is developed in ways thatrange from lushly romantic to aggressively athletic.The following section is marked “slow, lush†and features a duet first between trumpet andtuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leadsto an extended viola solo.The next section is fast and energetic. It begins with an athletic duet for English horn andbass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is forviolin, as the orchestral texture disintegrates around it.The next section, marked “slow, mysticalâ€, begins with a duet between piano and bassclarinet. A passionate horn duo follows before a passage for solo bass leads directly into thenext section.This section is fragmentary and halting. An unpitched duo of bass drum and flexatonebegins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,an extended cello solo closes the section.The final part of the work is inspired by my first visit to Pittsburgh. When driving in fromPittsburgh airport (which is far outside the city), the city itself is “hidden†from the road byhills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,emerges from it on a suspension bridge over the Monongahela River. Late at night, this wasa truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glitteringlights. The ecstatic rush of the lighted city at night is portrayed in this section – amidstfragments from the opening, recalling the industrial past, now transformed into somethingnew.Instrumentation3 Flutes (3rd dbl. Picc.)2 OboesEnglish Horn3 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F/Bb3 Trumpets in Bb2 TrombonesBass TromboneTubaTimpaniPercussion (3 players)I: tubular bells, bass drumII: vibraphone (motor off)III: crotales, marimba, flexatone(Percussion II needs two rosined bows.Percussion III needs one rosined bow.)PianoViolin IViolin IIViolaCelloContrabass(principal/solo contrabass must have machine extension to low Db)This is the score only. The parts are available on rental from the publisher
$25.95
Laudatio Amadeus
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Orchestre
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INTERMÉDIAIRE
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Elizabeth Skola Davis
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Laudatio Amadeus
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Elizabeth Ann Davis
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1459569 Composed by Elizabeth Skola Davis. Classical,Historic,Opera,Standards. 99 pages. Elizabeth Ann Davis #1038524...
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Full Orchestra - Level 3 - SKU: A0.1459569 Composed by Elizabeth Skola Davis. Classical,Historic,Opera,Standards. 99 pages. Elizabeth Ann Davis #1038524. Published by Elizabeth Ann Davis (A0.1459569). The quadrille (a precursor to American square dancing) was a dance fashionable in late 18th- and 19th-century Europe and its colonies. It was usually performed by four pairs of dancers in a rectangular formation, and frequently danced to a medley of opera melodies. So, it turns out that a quadrille is just the 19th-century version of a mash-up! This Quadrille features excerpts from: Symphony #38 (Prague), the Impressario overture, Viennese Sonatina No. 1, Symphony #41 (Jupiter), Don Giovanni, Marriage of Figaro, March for Orchestra, KV 189, Queen of the Night aria from Magic Flute, Abduction from the Seraglio, Turkish March, and the finale from Symphony #29. The title comes from Laudatio which means commendation or praise, and Amadeus from Wolfgang Mozart's best known middle name.
$14.99
Divertimento for Orchestra
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Orchestre
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Contemporain
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Vincent M
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a prelude
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Divertimento for Orchestra
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Vincent M. Bonafede
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SheetMusicPlus
Full Orchestra - SKU: A0.997183 Composed by Vincent M. Bonafede. Contemporary. Score and parts. 141 pages. Vincent M. Bonafede #5220243. Published by Vi...
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Full Orchestra - SKU: A0.997183 Composed by Vincent M. Bonafede. Contemporary. Score and parts. 141 pages. Vincent M. Bonafede #5220243. Published by Vincent M. Bonafede (A0.997183). Divertimento is a work for full orchestra not to be taken too seriously! It is a diversion! It contains 5 very diverse movements. First a prelude; second a generic ragtime tune; third a quiet reverie featuring a flute trio; fourth a march to the saloon on Saturday night and five a finale based on a hymn tune from the Sacred Harp. Each movement is short. Whole work is about 9' 30. All string parts are suitable for the average community orchestra. I have conducted the work with two different community orchestras and feedback was positive from both musicians and audience members.
$15.00
Die Jagd Ouvertüre Op. 19
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Orchestre
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AVANCÉ
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Classique
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Fabio Martins
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Die Jagd Ouvertüre Op. 19
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Fabio Dentello
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.778479 Composed by Fabio Martins. Classical,Romantic Period. Score and Parts. 137 pages. Fabio Dentello #385974. Publ...
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Full Orchestra - Level 5 - SKU: A0.778479 Composed by Fabio Martins. Classical,Romantic Period. Score and Parts. 137 pages. Fabio Dentello #385974. Published by Fabio Dentello (A0.778479). Die Jagd is a piece that seeks to portray the scene of two hunters, the brothers Karl Wilhelm and Ernst Wilhelm, who, due to bad luck, are about to lose their family home due to debts resulting from the misfortune that their father's business is having. They, through a tragedy that is happening at dawn in their city; meet the Grand Duke Karl Friedrich, who by the events, calls for all the hunters and proposes a great reward and a title of nobility to whoever kills the culprit of such a tragedy; a beast that killed a family and that surrounds the city at night.
$150.00
Sinfonia N. 8
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Orchestre
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Hans Werner Henze
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Sinfonia N. 8
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Schott Music - Digital
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SheetMusicPlus
Large orchestra - SKU: S9.Q3053 Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 25 minu...
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Large orchestra - SKU: S9.Q3053 Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 25 minutes. Schott Music - Digital #Q3053. Published by Schott Music - Digital (S9.Q3053). ‘My Sinfonia No. 8 is not at all tragic or moody like the Seventh. It is a summer piece and is based on three moments from Shakespeare’s A Midsummer Night’s Dream‘, writes Hans Werner Henze. This, however, is all we get to know from the composer regarding the work’s reference to Shakespeare’s comedy. On closer examination of the three-movement symphony it turns out that the first movement is a fantasia on Oberon’s order to Puck to search for the magic flower. In the second movement, Henze apparently set the love scenes between Titania and Bottom to music. Ultimately, the final movement shines gracefully and peacefully as if everything that had happened before had only been a dream. - Hans Werner Henze2 (1. auch Picc., 2. auch Picc. u. Altfl.) · 2 (2. auch Engl. Hr.) · 2 (2. auch Bassklar.) · 2 (2. auch Kfg.) - 4 · 2 · 1 · Basspos. · 1 - P. S. (3 hg. Beck. · 3 Tamt. · Schellentr. · 3 Tomt. · Mil. Tr. · gr. Tr. [mit u. ohne Beck.] · Tempelbl. · Peitsche · Marimba · Vibr. · Glsp · chin. Gong · Fingerzimb.) (3 Spieler) - Hfe. · Cel. · Klav. - Str.
$47.99
1979年《å°ç£å‚³å¥‡-å»–æ·»ä¸ç®¡å¼¦æ¨‚組曲》管弦樂 1979：Legend of Taiwan-Orchestral Suite
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Orchestre
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Contemporain
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Ma Shui Long 馬水é¾
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1979年《å°ç£
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SpringAutumnmusic
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SheetMusicPlus
Full Orchestra - SKU: A0.961993 Composed by Ma Shui Long 馬水é¾. Contemporary. Score and parts. 95 pages. SpringAutumnmusic #47111. Publishe...
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Full Orchestra - SKU: A0.961993 Composed by Ma Shui Long 馬水é¾. Contemporary. Score and parts. 95 pages. SpringAutumnmusic #47111. Published by SpringAutumnmusic (A0.961993). 1979年《å°ç£å‚³å¥‡-å»–æ·»ä¸ç®¡å¼¦æ¨‚組曲》，管弦樂 　　本曲改編自「舞劇廖添ä¸ã€ï¼Œç‚º1979年雲門舞集委託之作å“。除åºæ›²ä¹‹å¤–ï¼Œåˆ†ç‚ºäº”å€‹æ¨‚ç« ï¼Œæ¯å€‹æ¨‚ç« æ¨‚æ›²çš„å½¢å¼èˆ‡çµæ§‹ï¼Œå‡èˆ‡åŠ‡æƒ…發展有關，其主è¦äººç‰©èˆ‡æ¨‚曲主題動機如下： 　　(一)å»–æ·»ä¸: 作曲者以兩個ä¸åŒçš„ä¸»é¡Œå‹•æ©Ÿä¾†è¡¨ç¤ºä»–çš„å…§å¿ƒæ°£æ¦‚æ‚²å£¯å’Œè¡Œä¿ ä»—ç¾©è¼•é¬†è©¼è«§çš„ä¸€é¢ï¼Œè—‰è‘—有關廖添ä¸çš„å„種傳說åŠåŠ‡æƒ…的發展，決定以兩個ä¸åŒçš„ä¸»é¡Œä¾†è¡¨ç¤ºä»–çš„å…§å¿ƒæ°£æ…¨æ‚²å£¯å’Œè¡Œä¿ ä»—ç¾©æ™‚è¼•é¬†è©¼è«§çš„ä¸€é¢ï¼Œå¦‚a與b。 　　(二)一ä½è¢«æ—¥è¦ä¾®è¾±çš„少女： 雖然ä¸æ˜¯ä¸»è§’，但也是很é‡è¦çš„角色，她象徵著日據時代å°ç£åŒèƒžçš„命é‹èˆ‡éé‡ï¼Œå¦‚c。 　　全曲先由åºæ›²æ ¹æ“ša與c之主題動機發展，以暗示劇ä¸ä¸»äººç¿-å»–æ·»ä¸çš„命é‹èˆ‡éé‡ï¼Œè€Œå¾Œå†ä¾åºç™¼å±•æ•´æ›²ã€‚ ã€€ã€€ç¬¬ä¸€æ¨‚ç« ï¼šå¤§ç¨»åŸ•å¤œå··/ç¬¬äºŒæ¨‚ç« ï¼šæ—¥äººå®…ç¬¬/ç¬¬ä¸‰æ¨‚ç« ï¼šéœžæµ·åŸŽéšå»Ÿæœƒ/ç¬¬å››æ¨‚ç« ï¼šæ·¡æ°´æ²³ç•”/ç¬¬äº”æ¨‚ç« ï¼šé‡é›£ã€‚ ※本曲1979å¹´5月由舞蹈家林懷民編舞ã€é¦¬æ°´é¾æŒ‡æ®åœ‹ç«‹è—專管弦樂團ã€éŸ»å¾·éŒ„音公å¸éŒ„音，於å°åŒ—國父紀念館舉行世界首演。 　　 1979：Legend of Taiwan-Orchestral Suite of Chivalrous Liao Tain-Ding 　　This work was originally composed for a dance drama named Liao, Tand-Ding, and later on, recomposed as an orchestra work, and it was commissioned by the Cloud Gate Dance Foundation. Excepting the Overture, the work is divided into five movements. The form and structure of each movement all relate to the story basis. The roles and music themes are as follows: First: Liao Tain-Ding: The composer created two themes a and b, to express both Liao Tain-Ding’s heroically tragic character and also his humorous character. Please see below: Second: A young lady humiliated by the Japanese Police: Although the young lady is not played as a heroine, she is significant here. She symbolizes the experiences and fates of Taiwanese citizens during the colonial period. For example c: 　 The work begins with an Overture by developing subjects a and c, to imply the fate of hero Liao Tain-Ding and what he has gone through. 　　 　　1st Movement: Night Lane in Ta Tao Cheng / 2nd Movement: The Japanese Mansion / 3rd Movement: Festival at the Hsia Hai Cheng Huang Temple / 4th Movement: Tamshui Riverside / 5th Movement: Martyrdom ※In May 1979, The dance of Legend of Taiwan-Orchestral Suite of Chivalrous Liao Tain-Ding arranged by Huai-ming Lin, was premiered by the National Taiwan Junior College of Art Orchestra, conducted by the composer Shui-long Ma, recorded by the Yun-de Company, and was premiered at the Taiwan National Dr. Sun Yat-sen Memorial Hall.
$44.99
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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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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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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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
Sally's Song
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INTERMÉDIAIRE
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Danny Elfman
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Victor Pesavento
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Sally's Song
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Victor Pesavento
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1503431 Composed by Danny Elfman. Arranged by Victor Pesavento. Broadway,Christmas,Film/TV,Halloween,Holiday,Musical/...
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Full Orchestra - Level 3 - SKU: A0.1503431 Composed by Danny Elfman. Arranged by Victor Pesavento. Broadway,Christmas,Film/TV,Halloween,Holiday,Musical/Show. 47 pages. Victor Pesavento #1078880. Published by Victor Pesavento (A0.1503431). Solo Vocal with Orchestra arrangement of Sally's Song from Tim Burton's The Nightmare Before Christmas.Includes optional Accordion and Alto Saxophone parts.Score & Parts (in the original key)FLUTE 1-2ALTO FLUTEOBOEENGLISH HORNBb CLARINET 1-2BASS CLARINETBASSOON 1-2ALTO SAXOPHONE (optional)F HORNS 1-4Bb TRUMPET 1-3TROMBONE 1-2BASS TROMBONETUBAPERCUSSION 1: GlockenspielPERCUSSION 2: Vibraphone, Finger CymbalsHARPCELESTAACCORDION (optional)SOLO VOICEVIOLIN IVIOLIN IIVIOLACELLOCONTRABASSAbout the arranger:Victor Pesavento is a Los Angeles based orchestrator and arranger. Recent notable orchestration projects include the films Hocus Pocus 2 (2022), Luck (2022), Ice Age: Adventures of Buck Wild (2022), The New Mutants (2020), Dora and the Lost City of Gold (2019), Solo: A Star Wars Story (2018) and Maze Runner: The Death Cure (2018), as well as episodes of The Simpsons, The Orville, Halo, Green Eggs & Ham, and The Mandalorian.Victor has worked with composers John Williams, Alan Silvestri, James Newton Howard, John Debney, John Powell, Alexandre Desplat and others on over 600 motion pictures that have included West Side Story, Star Wars: Episodes VII-VIII-IX, Frozen, The Avengers and How To Train Your Dragon. Other film credits include various installments of the Indiana Jones, Harry Potter, Hunger Games and Lord of the Rings franchises, as well as Tony Award nominated musicals Catch Me If You Canand Beautiful: The Carole King Musical.Victor’s arrangements have been heard on numerous Academy Awards shows and American Idol broadcasts and have been recorded by the London Symphony Orchestra, the Los Angeles Film Orchestra and the Royal Philharmonic Orchestra, performed by such notable artists and ensembles as Barbra Streisand, Jennifer Hudson, Kristen Bell, the National Symphony Orchestra, and featured in the Ghent Film Festival, the Tenerife International Film Music Festival and Hollywood In Vienna (Festival der Filmmusik).
$49.99
Autumn tableau
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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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Night Rag
