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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
No No Song
Non classifié
1 546
Piano & claviers
Piano, Voix
2 470
Piano seul
1 490
Piano Facile
407
Piano, Voix et Guitare
302
Instruments en Do
170
Accompagnement Piano
81
Orgue
70
1 Piano, 4 mains
40
Piano grosses notes
35
Accordéon
22
Piano Trio: piano, violon, violoncelle
16
2 Pianos, 4 mains
4
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Piano Quatuor: piano, 2 violons, violoncelle
3
Piano Quatuor: piano, violon, alto, violoncelle
3
Orgue, Piano (duo)
2
Piano (partie séparée)
2
Clavier
1
2 Pianos, 8 mains
1
1 Piano, 6 mains
1
+ 15 instrumentations
Retracter
Guitares
Guitare
134
Guitare notes et tablatures
106
Piano, Guitare (duo)
73
Ligne De Mélodie, (Paroles) et Accords
64
Basse electrique
30
Ukulele
26
2 Guitares (duo)
16
Dulcimer
14
Paroles et Accords
9
Mandoline
8
Banjo
4
Guitare (partie séparée)
3
Ensemble de guitares
1
2 Dulcimers (duo)
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
457
Voix seule
218
Chorale 3 parties
175
Chorale 2 parties
86
Chorale TTBB
81
Chorale Unison
53
Chorale SSAA
40
Voix haute
39
Voix Soprano, Piano
32
Voix duo, Piano
30
Voix Baryton, Piano
29
Voix Tenor, Piano
26
Voix Alto, Piano
21
Voix moyenne, Piano
11
Voix Tenor
6
Voix duo
5
Voix basse
4
Voix Soprano
3
Voix basse, Piano
2
Voix Mezzo-Soprano, Piano
1
Chorale
1
Chorale SAATB A Cappella
1
Voix, Guitare
1
+ 18 instrumentations
Retracter
Vents
Clarinette et Piano
155
Flûte traversière et Piano
129
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
121
Quatuor de Saxophones: 4 saxophones
114
Flûte traversière
96
Flûte, Hautbois, Clarinette, Basson
90
Hautbois, Piano (duo)
85
Clarinette
84
Saxophone Alto et Piano
79
Saxophone Alto
78
2 Saxophones (duo)
72
Quatuor de Clarinettes: 4 clarinettes
71
Saxophone Tenor
63
Saxophone (partie séparée)
56
Clarinette, Harpe (duo)
50
Quintette de Saxophone: 5 saxophones
49
Saxophone Soprano et Piano
44
Saxophone Tenor et Piano
44
2 Flûtes traversières (duo)
40
2 Clarinettes (duo)
40
3 Saxophones (trio)
34
Hautbois (partie séparée)
31
Saxophone
30
Saxophone Baryton, Piano
29
Quatuor de Flûtes : 4 flûtes
28
Cor anglais, Piano
25
Flûte et Guitare
22
Quintette de Clarinettes: 5 clarinettes
21
Ensemble de Clarinettes
21
Flûte, Clarinette (duo)
20
Saxophone, Clarinette (duo)
20
2 Hautbois (duo)
17
Clarinette (partie séparée)
16
Clarinette, Violon (duo)
16
Clarinette Basse, Piano
15
3 Clarinettes (trio)
15
Quintette de Flûte : 5 flûtes
12
Hautbois, Basson (duo)
12
Flûte à Bec
11
Clarinette, Guitare (duo)
11
Clarinette, Trompette (duo)
10
Flûte, Harpe et Violoncelle
9
Hautbois, Clarinette (duo)
8
Hautbois, Flûte
7
Flûte, Saxophone (duo)
7
Clarinette et Alto
7
Flûte, Hautbois, Clarinette (trio)
7
Hautbois, Clarinette, Basson (trio d'anches)
7
Flûte, Violon
7
Flûte, Alto (duo)
6
Flûte, Violon, Piano
6
Clarinette, Violoncelle (duo)
6
Ensemble de saxophones
6
Ensemble de Flûtes
6
Flute (partie séparée)
5
Ocarina
5
Cor Anglais
5
Trio de Flûtes: 3 flûtes
4
Saxophone Soprano
4
Flûte, Trompette (duo)
4
Flûte, Violoncelle
4
Quatuor de Flûtes à bec
4
Harmonica
3
Flûte, Hautbois, Basson
3
Hautbois
3
Flûte irlandaise
3
3 Hautbois
3
Cornemuse
2
Hautbois, Guitare (duo)
2
Ensemble De Flûte à bec
2
Flûte, Hautbois (duo)
2
Hautbois, Violoncelle
2
Flûte à bec Alto, Piano
2
Flûte à bec Soprano
2
Saxophone, Basson (duo)
1
Flûte, Alto et Piano
1
Flûte et Trio à cordes
1
Ensemble de Hautbois
1
Saxophone et violoncelle
1
Flûte à bec, Harpe
1
Piccolo, Piano
1
Hautbois et alto (duo)
1
Flute, harpe et violon
1
2 Flûte à bec (duo)
1
2 Flûtes traversières, Harpe
1
Hautbois, violon (duo)
1
Flûte, Violon et Violoncelle
1
Cor anglais, Guitare (duo)
1
+ 83 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
145
Quatuor de Cuivres : 2 trompettes, trombone, tuba
89
Trompette
84
Trombone et Piano
66
Cor et Piano
61
Trompette, Piano
56
Trombone
47
Cor
33
Euphonium, Piano (duo)
30
Cor anglais, Piano
25
Quatuor de Cuivres
22
Quatuor de cuivres: 4 trombones
20
Trompette, Trombone (duo)
20
Quatuor de Cuivres: 2 trompettes, Cor, trombone
19
Tuba
18
Tuba et Piano
18
Trombone (partie séparée)
16
Trompette, Saxophone (duo)
15
Trompette (partie séparée)
14
2 Trompettes (duo)
13
2 Trombones (duo)
10
Trompette, Cor (duo)
9
Tuba (partie séparée)
7
Quatuor de cuivres: 4 cors
7
2 Cors (duo)
7
Ensemble de Trombones
6
Cor (partie séparée)
6
Euphonium
6
Trompette et Guitare
5
Cor Anglais
5
Trio de Cuivres
5
Tuba et Orgue
3
4 Tubas
2
Ensemble de Trompettes
2
Trombone basse
2
Trompette, Tuba (duo)
2
Quatuor de cuivres: 4 trompettes
2
Trombone basse et Piano
2
Ensemble de Tubas
1
Euphonium, Tuba (duo)
1
2 Tubas (duo)
1
3 Trombones (trio)
1
Trompette, Violoncelle (duo)
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Cor, Violoncelle (duo)
1
2 Euphoniums et 2 Tubas
1
Trombone, Cor (duo)
1
Cor anglais, Guitare (duo)
1
+ 43 instrumentations
Retracter
Cordes
Harpe
426
Quatuor à cordes: 2 violons, alto, violoncelle
353
Violon et Piano
231
Violon
153
Violoncelle, Piano
136
Alto, Piano
106
Violoncelle
106
Violon, Violoncelle (duo)
50
Alto seul
49
Trio à Cordes: 2 violons, violoncelle
40
Trio à Cordes: violon, alto, violoncelle
33
2 Violons (duo)
31
Quintette à cordes: 2 violons, alto, violoncelle, basse
31
Violon, Alto (duo)
29
2 Violoncelles (duo)
23
Contre Basse
21
4 Violoncelles
19
2 Altos (duo)
18
2 Harpes (duo)
15
Contrebasse, Piano (duo)
11
Harpe, Flûte (duo)
9
Violon, Guitare (duo)
9
Violon (partie séparée)
9
Alto (partie séparée)
8
Trio à cordes: 3 violins
7
Alto, Violoncelle (duo)
7
Piano Trio: Violon, Alto, Piano
7
Harpe, Voix
6
Contrebasse (partie séparée)
6
Trio à Cordes: 3 violoncelles
5
Harpe, Violon (duo)
5
Trio à cordes: 3 altos
4
Quatuor à cordes: 4 violons
4
Violoncelle , Guitare (duo)
3
Trio à cordes
3
5 Harpes
2
Violon, Basson (duo)
2
3 Harpes
2
Ensemble de Violons
2
Alto et Basson
2
Violoncelle (partie séparée)
2
Alto et Harpe
1
Quatuor à cordes : 4 altos
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
4 Contrebasses
1
Violon, Orgue
1
Alto, Guitare (duo)
1
+ 42 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
273
Ensemble de cuivres
115
Orchestre
114
Orchestre à Cordes
101
Ensemble Jazz
50
Orchestre de chambre
35
Batterie
34
Cloches
32
Jazz combo
13
Percussion (partie séparée)
9
Fanfare
8
Marimba
8
Ensemble de Percussions
7
Timbales (partie séparée)
5
Vibraphone
3
Quintette de Cuivres: autres combinaisons
2
Batterie (partie séparée)
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
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Vous avez sélectionné:
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Orchestre
Partitions à imprimer
114 partitions trouvées
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1
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51
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101
I Write The Songs
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Barry Manilow
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Kevin Riley
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I Write The Songs
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Kevin Riley
#
SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1043121 By Barry Manilow. By Bruce Johnston. Arranged by Kevin Riley. 20th Century,Pop. Score and parts. 57 pages. Ke...
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Full Orchestra - Level 4 - SKU: A0.1043121 By Barry Manilow. By Bruce Johnston. Arranged by Kevin Riley. 20th Century,Pop. Score and parts. 57 pages. Kevin Riley #647831. Published by Kevin Riley (A0.1043121). I Write the Songs is a popular song written by Bruce Johnston in 1975 and released on his album Going Public in 1977. Barry Manilow's version reached number one on the Billboard Hot 100 chart in January 1976 after spending two weeks atop the Billboard adult contemporary chart in December 1975. It won a Grammy Award for Song of the Year and was nominated for Record of the Year in 1977. Billboard ranked it as the No. 13 song of 1976. The original version was recorded by Captain & Tennille, who worked with Johnston in the early 1970s with the Beach Boys. It appears on their 1975 album Love Will Keep Us Together. The first release of I Write the Songs as a single was by teen idol David Cassidy from his 1975 solo album The Higher They Climb, which was also produced by Johnston. Cassidy's version reached number 11 on the UK Singles Chart in August of that year. Johnston has stated that, for him, the I in the song is God, and that songs come from the spirit of creativity in everyone. He has said that the song is not about his Beach Boys bandmate Brian Wilson. Manilow was initially reluctant to record the song, stating in his autobiography Sweet Life: The problem with the song was that if you didn't listen carefully to the lyric, you would think that the singer was singing about himself. It could be misinterpreted as a monumental ego trip.[3] After persuasion by Clive Davis, then president of Arista Records, Manilow recorded the song, and his version of I Write the Songs was the first single taken from the album Tryin' to Get the Feeling. It first charted on the Billboard Hot 100 on November 15, 1975, reaching the top of the chart nine weeks later, on January 17, 1976. Cash Box said of Manilow's version Good work Barry describing the song as melodic, ballad-like beginning grows into an operatic crescendo, all done in clear production that all age groups will appreciate.
$70.00
"Now Thank We" and "Praise the Lord" adapted from MENDELSSOHN'S Symphony No. 2 "Song of Praise" (4:3
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Orchestre
#
INTERMÉDIAIRE
#
Musique Sacrée
#
Paul Ferington
#
"Now Thank We" and &
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Paul K Ferington
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.982352 Arranged by Paul Ferington. Holiday,Praise & Worship,Sacred. Score and parts. 56 pages. Paul K Ferington #6436...
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Full Orchestra - Level 3 - SKU: A0.982352 Arranged by Paul Ferington. Holiday,Praise & Worship,Sacred. Score and parts. 56 pages. Paul K Ferington #6436829. Published by Paul K Ferington (A0.982352). Adaptation of Mendelssohn's powerful SYMPHONY NO. 2 Hymn of Praise for reduced orchestra; movements Now Thank We All Our God and Let All Who Have Breath Praise the Lord (4:30) for church / school orchestra of intermediate ability. Instrumentation Strings + 2/2/2/1 2/2/2/1 Timp / Organ; ideal for concert ending or church service postlude. .
$12.95
Australian Folksong Medley No. 3 - Orchestra
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Orchestre
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INTERMÉDIAIRE
#
Folklorique/Traditionel
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Traditional
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Brendan Elliget
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Australian Folksong Medley No.
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BJE Music
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.750730 Composed by Traditional. Arranged by Brendan Elliget. Folk. Score and parts. 96 pages. BJE Music #3525485. Pub...
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Full Orchestra - Level 3 - SKU: A0.750730 Composed by Traditional. Arranged by Brendan Elliget. Folk. Score and parts. 96 pages. BJE Music #3525485. Published by BJE Music (A0.750730). This is the third arrangement of some Australian Folksongs (as a medley) I’ve done for full orchestra. The medley includes - A Thousand Miles Away, Moreton Bay and Shores Of Botany Bay. This arrangement is also available for Concert Band and Brass Band at this site. There are another 5 folksong medleys to download. Suitable for school or community groups...The MP3 was recorded with NotePerformer. Grade = 3.5-4.0 Duration = 4:30 mins. .
$30.00
Australian Folksong Medley No. 4 - Orchestra
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Orchestre
#
INTERMÉDIAIRE
#
Folklorique/Traditionel
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Traditional
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Brendan Elliget MAGA 537
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Australian Folksong Medley No.
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BJE Music
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.750733 Composed by Traditional. Arranged by Brendan Elliget MAGA 537. Folk. Score and parts. 81 pages. BJE Music #352...
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Full Orchestra - Level 3 - SKU: A0.750733 Composed by Traditional. Arranged by Brendan Elliget MAGA 537. Folk. Score and parts. 81 pages. BJE Music #3525495. Published by BJE Music (A0.750733). This is the 4th medley of Australian folksongs I have done for Orchestra - There are 3 tunes in the medley: A Nautical Yarn, Bluey Brink and the well known Click Goes The Shears. If you use this arrangement, please let me know how it goes! Also available for both Concert Band and Brass Band as well. There are another 5 Australian folksong medleys to download.The MP3 was recorded with NotePerformer.Grade = 3.5 Duration = 4:45 mins.
$30.00
Gekijouban Shingeki No Kyojin Zenpen: Guren No Yumiya
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Orchestre
#
INTERMÉDIAIRE/AVANCÉ
#
Revo
#
Kevin Riley
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Gekijouban Shingeki No Kyojin
#
Kevin Riley
#
SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1437916 Composed by Revo. Arranged by Kevin Riley. 20th Century,Film/TV,Video Game. 90 pages. Kevin Riley #1017982. P...
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Full Orchestra - Level 4 - SKU: A0.1437916 Composed by Revo. Arranged by Kevin Riley. 20th Century,Film/TV,Video Game. 90 pages. Kevin Riley #1017982. Published by Kevin Riley (A0.1437916). Guren no Yumiya (Japanese: 紅蓮の弓矢, lit. Crimson Bow and Arrow) is one of two songs created by the Japanese band Linked Horizon for the double A-side track of their three-track single Jiyū e no Shingeki. The full version of the song was released by Pony Canyon on 10 July 2013, and would be most notable for its use as the first intro to the anime Attack on Titan.The song was the first anime theme the band Linked Horizon would create, being composed using a blend of musical genres as well as Japanese and German language lyrics. Since first being used in the anime, the song has had multiple musical artists perform cover versions of the song, and has been played most notably at the 64th NHK Kōhaku Uta Gassen and during major sporting events in Japan, including at the 2020 Summer Olympics. The song would reach the number one spot on the Billboard Japan Hot 100 and Hot Animation charts upon its debut, and would receive four awards for its melody and animation by the end of 2013. In May 2014, Guren no Yumiya earned a RIAJ 2x Platinum certification for half a million sales.This arrangement requires a large orchestra.
$90.00
American Folk Song Suite No. 1
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Orchestre
#
INTERMÉDIAIRE
#
Stephen Lines
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Stephen Lines
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American Folk Song Suite No. 1
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Stephen Lines
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.957784 Composed by Stephen Lines. Arranged by Stephen Lines. Contemporary,Folk,Holiday,Patriotic,Traditional. Score a...
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Full Orchestra - Level 3 - SKU: A0.957784 Composed by Stephen Lines. Arranged by Stephen Lines. Contemporary,Folk,Holiday,Patriotic,Traditional. Score and parts. 96 pages. Stephen Lines #2807643. Published by Stephen Lines (A0.957784). This is a new and refreshing arrangement of well-loved traditional American Folk Songs. This is a suite that players and audiences alike will find exciting and would be a great addition to annual July 4th celebrations and any other celebratory American concerts. Set of score with parts. .
$28.50
Bird Song
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Orchestre
#
INTERMÉDIAIRE/AVANCÉ
#
The Grateful Dead
#
Lee Johnson
#
Bird Song
#
Lee Johnson Music
#
SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1181603 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Contemporary,C...
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Full Orchestra - Level 4 - SKU: A0.1181603 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Contemporary,Contest,Festival,Folk. Score and parts. 67 pages. Lee Johnson Music #781391. Published by Lee Johnson Music (A0.1181603). BIRD SONG - for symphony orchestra - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboard’s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations. Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit: www.leejohnsonmusic.comKings Bishop Productions YouTube Channel Â
$49.99
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Symphony No.1 "Forgotten Lands", Movement III. Vivace, Allegro
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Doug Clyde
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Symphony No.1 "Forgotten
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ALBEDO MUSIC
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.712781 Composed by Doug Clyde. Contemporary. Score and parts. 79 pages. ALBEDO MUSIC #2551059. Published by ALBEDO MU...
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Full Orchestra - Level 4 - SKU: A0.712781 Composed by Doug Clyde. Contemporary. Score and parts. 79 pages. ALBEDO MUSIC #2551059. Published by ALBEDO MUSIC (A0.712781). Symphony No. 1 Forgotten Lands- Movement III. Vivace, Allegro (Full Orchestra): Doug Clyde. Song: Movement III. Vivace, Allegro. Album: Symphony No. 1. Artist: ALBEDO. Composer: Doug Clyde. © 2012 by ALBEDO MUSIC. AMSM59. The third movement of a five movement Symphony based on the music from Forgotten Lands. Full Orchestra. Score & Parts- Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Clarinet in Bb 1, Clarinet in Bb 2, Bassoon 1, Bassoon 2, Contrabassoon, Horn in F 1 & 3, Horn in F 2 & 4, Trombone 1 & 2, Contrabass Tuba or Bass Tuba, Timpani, Percussion 1 (Bongo Drums, Conga Drum, Snare Drum, Wood Blocks), Percussion 2 (Tambourine, Bass Drum, Crash Cymbals, Tam-Tam), Glockenspiel, Xylophone, Violin I, Violin II, Viola, Cello, Contrabass.
$29.99
Symphony No.1 "Forgotten Lands", Movement V. Adagio, Vivace
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Doug Clyde
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SATB Choir. Score &
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Symphony No.1 "Forgotten
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ALBEDO MUSIC
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.713228 Composed by Doug Clyde. Contemporary. Score and parts. 40 pages. ALBEDO MUSIC #2551065. Published by ALBEDO MU...
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Full Orchestra - Level 4 - SKU: A0.713228 Composed by Doug Clyde. Contemporary. Score and parts. 40 pages. ALBEDO MUSIC #2551065. Published by ALBEDO MUSIC (A0.713228). Symphony No. 1 Forgotten Lands- Movement V. Adagio, Vivace (Full Orchestra): Doug Clyde. Song: Movement V. Adagio, Vivace. Album: Symphony No. 1. Artist: ALBEDO. Composer: Doug Clyde. © 2012 by ALBEDO MUSIC. AMSM61. The fifth movement of a five movement Symphony based on the music from Forgotten Lands. Full Orchestra & SATB Choir. Score & Parts- Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Bassoon 1, Bassoon 2, Contrabassoon, Horn in F 1, Horn in F 3, Horn in F 2 & 4, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Trombone 1, Trombone 2 & Bass Trombone, Contrabass Trombone & Contrabass Tuba or Bass Tuba, Timpani, Percussion (Bass Drum, Snare Drum, Tam-Tam), Harp, Piano, Organ, Soprano, Alto, Tenor, Bass, Violin I, Violin II, Viola, Cello, Contrabass
$29.99
Symphony No.1 "Forgotten Lands", Movement IV. Allegro, Moderato
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Doug Clyde
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Symphony No.1 "Forgotten
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ALBEDO MUSIC
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.712782 Composed by Doug Clyde. Contemporary. Score and parts. 107 pages. ALBEDO MUSIC #2551063. Published by ALBEDO M...
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Full Orchestra - Level 4 - SKU: A0.712782 Composed by Doug Clyde. Contemporary. Score and parts. 107 pages. ALBEDO MUSIC #2551063. Published by ALBEDO MUSIC (A0.712782). Symphony No. 1 Forgotten Lands- Movement IV. Allegro, Moderato (Full Orchestra): Doug Clyde. Song: Movement IV. Allegro, Moderato. Album: Symphony No. 1. Artist: ALBEDO. Composer: Doug Clyde. © 2012 by ALBEDO MUSIC. AMSM60. The fourth movement of a five movement Symphony based on the music from Forgotten Lands. Full Orchestra. Score & Parts- Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Bassoon 1, Bassoon 2, Contrabassoon, Horn in F 1 & 3, Horn in F 2 & 4, Trumpet in Bb 1, Trumpet in Bb 2 & 3, Trombone 1, Trombone 2, Bass Trombone, Contrabass Trombone, Contrabass Tuba or Bass Tuba, Timpani, Percussion (Bass Drum, Snare Drum, Tam-Tam, Crash Cymbals), Violin I, Violin II, Viola, Cello, Contrabass.
$29.99
Symphony No.1 "Forgotten Lands", Movement I. Allegro, Vivace
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Doug Clyde
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Symphony No.1 "Forgotten
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ALBEDO MUSIC
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.712779 Composed by Doug Clyde. Contemporary. Score and parts. 137 pages. ALBEDO MUSIC #2551055. Published by ALBEDO M...
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Full Orchestra - Level 4 - SKU: A0.712779 Composed by Doug Clyde. Contemporary. Score and parts. 137 pages. ALBEDO MUSIC #2551055. Published by ALBEDO MUSIC (A0.712779). Symphony No. 1 Forgotten Lands- Movement I. Allegro, Vivace (Full Orchestra): Doug Clyde. Song: Movement I. Allegro, Vivace. Album: Symphony No. 1. Artist: ALBEDO. Composer: Doug Clyde. © 2012 by ALBEDO MUSIC. AMSM57. The first movement of a five movement Symphony based on the music from Forgotten Lands. Full Orchestra. Score & Parts- Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Bassoon 1, Bassoon 2, Contrabassoon, Horn in F 1 & 3, Horn in F 2 & 4, Trumpet in Bb 1, Trumpet in Bb 2 & 3, Trombone 1 & 2, Bass Trombone, Contrabass Trombone, Contrabass Tuba or Bass Tuba, Timpani, Drum Set, Harp, Piano, Violin I, Violin II, Viola, Cello, Contrabass.
$29.99
Symphony No.1 "Forgotten Lands", Movement II. Adagio, Andante
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Doug Clyde
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Symphony No.1 "Forgotten
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ALBEDO MUSIC
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.712780 Composed by Doug Clyde. Contemporary. Score and parts. 38 pages. ALBEDO MUSIC #2551057. Published by ALBEDO MU...
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Full Orchestra - Level 4 - SKU: A0.712780 Composed by Doug Clyde. Contemporary. Score and parts. 38 pages. ALBEDO MUSIC #2551057. Published by ALBEDO MUSIC (A0.712780). Symphony No. 1 Forgotten Lands- Movement II. Adagio, Andante (Full Orchestra): Doug Clyde. Song: Movement II. Adagio, Andante. Album: Symphony No. 1. Artist: ALBEDO. Composer: Doug Clyde. © 2012 by ALBEDO MUSIC. AMSM58. The second movement of a five movement Symphony based on the music from Forgotten Lands. Full Orchestra. Score & Parts- Piccolo / Soprano Recorder, Flute 1, Flute 2, Oboe 1, Oboe 2, Clarinet in Bb 1, Clarinet in Bb 2, Bassoon 1, Bassoon 2, Harp 1, Harp 2, Celesta, Violin I, Violin II, Viola, Cello, Contrabass.
$29.99
Korean Dance No. 5 for Orchestra
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Orchestre
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AVANCÉ
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Richard E Brown
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Korean Dance No. 5 for Orchest
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Dacker Music
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.814867 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 98 pages. Dacker Music #685866...
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Full Orchestra - Level 5 - SKU: A0.814867 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 98 pages. Dacker Music #6858665. Published by Dacker Music (A0.814867). Korean Dances for Orchestra is a set of 8 short compositions that are based on themes and motifs drawn from Korean folk songs. Like the traditional music of its neighbors China and Japan, Korea's folk music generally utilizes pentatonic scales and tends to favor minor tonalities and triple or compound meters. But although the source tunes are mostly pentatonic, these dances make no attempt to limit themselves to pentatonic scales. Price includes license to copy as many parts as required
$50.00
Korean Dance No. 8 for Orchestra
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Orchestre
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AVANCÉ
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Richard E Brown
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Korean Dance No. 8 for Orchest
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Dacker Music
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.814871 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 51 pages. Dacker Music #685867...
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Full Orchestra - Level 5 - SKU: A0.814871 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 51 pages. Dacker Music #6858673. Published by Dacker Music (A0.814871). Korean Dances for Orchestra is a set of 8 short compositions that are based on themes and motifs drawn from Korean folk songs. Like the traditional music of its neighbors China and Japan, Korea's folk music generally utilizes pentatonic scales and tends to favor minor tonalities and triple or compound meters. But although the source tunes are mostly pentatonic, these dances make no attempt to limit themselves to pentatonic scales. Price includes license to copy as many parts as required
$40.00
Korean Dance No. 7 for Orchestra
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Orchestre
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Richard E Brown
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Korean Dance No. 7 for Orchest
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Dacker Music
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SheetMusicPlus
Full Orchestra - SKU: A0.814868 Composed by Richard E Brown. Multicultural,World. Score and parts. 44 pages. Dacker Music #6858671. Published by Dacker ...
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Full Orchestra - SKU: A0.814868 Composed by Richard E Brown. Multicultural,World. Score and parts. 44 pages. Dacker Music #6858671. Published by Dacker Music (A0.814868). Korean Dances for Orchestra is a set of 8 short compositions that are based on themes and motifs drawn from Korean folk songs. Like the traditional music of its neighbors China and Japan, Korea's folk music generally utilizes pentatonic scales and tends to favor minor tonalities and triple or compound meters. But although the source tunes are mostly pentatonic, these dances make no attempt to limit themselves to pentatonic scales. Price includes license to copy as many parts as required
$40.00
Korean Dance No. 1 for Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Richard E Brown
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Korean Dance No. 1 for Orchest
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Dacker Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.814863 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 52 pages. Dacker Music #685865...
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Full Orchestra - Level 4 - SKU: A0.814863 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 52 pages. Dacker Music #6858655. Published by Dacker Music (A0.814863). Korean Dances for Orchestra is a set of 8 short compositions that are based on themes and motifs drawn from Korean folk songs. Like the traditional music of its neighbors China and Japan, Korea's folk music generally utilizes pentatonic scales and tends to favor minor tonalities and triple or compound meters. But although the source tunes are mostly pentatonic, these dances make no attempt to limit themselves to pentatonic scales. Price includes license to copy as many parts as required.
$40.00
Korean Dance No. 4 for Orchestra
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Orchestre
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AVANCÉ
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Richard E Brown
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Korean Dance No. 4 for Orchest
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Dacker Music
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.814865 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 56 pages. Dacker Music #685866...
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Full Orchestra - Level 5 - SKU: A0.814865 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 56 pages. Dacker Music #6858663. Published by Dacker Music (A0.814865). Korean Dances for Orchestra is a set of 8 short compositions that are based on themes and motifs drawn from Korean folk songs. Like the traditional music of its neighbors China and Japan, Korea's folk music generally utilizes pentatonic scales and tends to favor minor tonalities and triple or compound meters. But although the source tunes are mostly pentatonic, these dances make no attempt to limit themselves to pentatonic scales. Price includes license to copy as many parts as required
$40.00
Korean Dance No. 2 for Orchestra
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Orchestre
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AVANCÉ
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Richard E Brown
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Korean Dance No. 2 for Orchest
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Dacker Music
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.814864 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 56 pages. Dacker Music #685865...
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Full Orchestra - Level 5 - SKU: A0.814864 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 56 pages. Dacker Music #6858657. Published by Dacker Music (A0.814864). Korean Dances for Orchestra is a set of 8 short compositions that are based on themes and motifs drawn from Korean folk songs. Like the traditional music of its neighbors China and Japan, Korea's folk music generally utilizes pentatonic scales and tends to favor minor tonalities and triple or compound meters. But although the source tunes are mostly pentatonic, these dances make no attempt to limit themselves to pentatonic scales. Price includes license to copy as many parts as required.
$40.00
Korean Dance No. 6 for Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Richard E Brown
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Korean Dance No. 6 for Orchest
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Dacker Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.814869 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 39 pages. Dacker Music #685866...
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Full Orchestra - Level 4 - SKU: A0.814869 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 39 pages. Dacker Music #6858669. Published by Dacker Music (A0.814869). Korean Dances for Orchestra is a set of 8 short compositions that are based on themes and motifs drawn from Korean folk songs. Like the traditional music of its neighbors China and Japan, Korea's folk music generally utilizes pentatonic scales and tends to favor minor tonalities and triple or compound meters. But although the source tunes are mostly pentatonic, these dances make no attempt to limit themselves to pentatonic scales. Price includes license to copy as many parts as required
$40.00
Korean Dance No. 3 for Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Richard E Brown
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Korean Dance No. 3 for Orchest
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Dacker Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.814866 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 40 pages. Dacker Music #685866...
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Full Orchestra - Level 4 - SKU: A0.814866 Composed by Richard E Brown. Contemporary,Multicultural,World. Score and parts. 40 pages. Dacker Music #6858661. Published by Dacker Music (A0.814866). Korean Dances for Orchestra is a set of 8 short compositions that are based on themes and motifs drawn from Korean folk songs. Like the traditional music of its neighbors China and Japan, Korea's folk music generally utilizes pentatonic scales and tends to favor minor tonalities and triple or compound meters. But although the source tunes are mostly pentatonic, these dances make no attempt to limit themselves to pentatonic scales. Price includes license to copy as many parts as required
$40.00
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Symphony No. 6 ... The Penobsc
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149...
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Full Orchestra - Level 4 - SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company. At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc. At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process. The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral. In the premiere, the Robinson Ballet will dance in the orchestral movements. The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man. It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor. God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.
$9.99
Piano Concerto No. 2 in Ab "New York Tour" Full Score and Parts, James Nathaniel Holland
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Orchestre
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AVANCÉ
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James Nathaniel Holland
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Piano Concerto No. 2 in Ab &qu
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730465 Composed by James Nathaniel Holland. Contemporary,Holiday,Jazz,Patriotic. Score and parts. 220 pages. James Na...
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Full Orchestra - Level 5 - SKU: A0.730465 Composed by James Nathaniel Holland. Contemporary,Holiday,Jazz,Patriotic. Score and parts. 220 pages. James Nathaniel Holland #3630023. Published by James Nathaniel Holland (A0.730465). (Duration: 25 minutes) Full Orchestral Score (in Concert Pitch) and Individual Instrument Parts. (Including solo piano part, revised 2018)James Nathaniel Holland is an American classical music composer of operas, symphonies, ballets, songs, and other musical concertworks that incorporate a unique, eclectic, blend of romantic, classical, world and jazz styles. In this second of his piano concerto, he blends jazz with sensitivity, rhythmic to lyrical. Nice program compliment with any Mozart piano concertos or with Gershwin's Rhapsody in Blue to feature American composers.This concerto is entitle New York Tour because like the city that inspired it, it travels throughout times, musical neighborhoods and cultures. YouTube presentation: https://www.youtube.com/watch?v=eAKDrGPLa3g Instrumentation: picc, fl., ob.12, clBb 12, Bsn12, Hrn 123, Tpt 12, Trmb. 12, Tba, Timp, Perc (glock, bass drum, small gong, s. cym w/mall and stl., slapstick, tri., hh) Piano solo, strings.Born and raised in Indiana, James Nathaniel Holland studied music at DePauw University, Vienna Austria, Interlochen National Music Camp and Indiana University (Bloomington, IN). At these schools many of his early pieces were premiered and performed, with one work being selected for main-stage production in the season. Moving to Los Angeles and then settling in New York, he performed professionally sometimes as a singer, sometimes as a pianist, sometimes as choral conductor. He composed incidental music for the stage. In 2002 he founded a composers collective where they showcased their work. He was one of the first composers to participate in the American Music Center's initial on-line library. The New Jersey Concert Opera and the Gay Men's Chorus of New Jersey also featured his comic operas and art songs. From 2005 he moved to Costa Rica where he organized concerts with visiting guest artists to present his chamber music to the public. Presently he lives in a castle in the central mountains of Costa Rica. Website: http://www.lacoronadelossantos.net/jamesnathanielholland.html YouTube Channel: https://www.youtube.com/user/composerjnholland
$45.25
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