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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
The Very Thought Of You
Sheetmusicplus
Non classifié
154
Piano & claviers
Piano seul
75
Piano, Voix
71
Piano Facile
34
Piano, Voix et Guitare
24
Instruments en Do
7
Orgue
5
Accompagnement Piano
4
Piano grosses notes
2
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano (partie séparée)
1
+ 5 instrumentations
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Guitares
Guitare notes et tablatures
7
Guitare
5
Ukulele
5
Ligne De Mélodie, (Paroles) et Accords
3
Guitare (partie séparée)
2
Mandoline
2
Basse electrique
1
+ 2 instrumentations
Retracter
Voix
Voix Alto, Piano
39
Voix Baryton, Piano
35
Chorale SATB
32
Voix Tenor
26
Voix Soprano
23
Voix Tenor, Piano
17
Voix Soprano, Piano
16
Chorale TTBB
8
Chorale SSAA
4
Chorale 3 parties
2
Voix seule
1
Voix haute
1
Chorale SSATB
1
Chorale 2 parties
1
Chorale Unison
1
+ 10 instrumentations
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Vents
Saxophone (partie séparée)
12
Flûte traversière
12
Clarinette
10
2 Saxophones (duo)
10
Quintette de Saxophone: 5 saxophones
9
3 Saxophones (trio)
8
Flûte traversière et Piano
8
Saxophone Alto
8
Hautbois, Piano (duo)
7
Saxophone Alto et Piano
7
Clarinette et Piano
6
Ensemble de saxophones
6
Saxophone Baryton, Piano
5
Saxophone Tenor
5
Hautbois (partie séparée)
5
Saxophone Soprano et Piano
5
Saxophone Tenor et Piano
5
Flûte, Hautbois, Clarinette (trio)
4
Ensemble de Clarinettes
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Ensemble de Flûtes
3
2 Clarinettes (duo)
2
Quatuor de Clarinettes: 4 clarinettes
2
Hautbois, Basson (duo)
2
Saxophone Baryton
2
Saxophone Soprano
2
Quatuor de Flûtes : 4 flûtes
2
Hautbois
2
Flûte, Hautbois, Clarinette, Basson
2
2 Hautbois (duo)
2
2 Flûtes traversières (duo)
2
Quatuor de Saxophones: 4 saxophones
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Clarinette, Guitare (duo)
1
Quintette de Flûte : 5 flûtes
1
Flûte, Violoncelle
1
Cor Anglais
1
Cor anglais, Piano
1
Quatuor de Flûtes à bec
1
Hautbois, Violoncelle
1
+ 35 instrumentations
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Cuivres
Trompette
18
Quatuor de Cuivres : 2 trompettes, trombone, tuba
10
Trombone et Piano
10
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Trombone
9
Cor
8
Cor et Piano
6
Trombone (partie séparée)
4
Tuba
4
Trompette (partie séparée)
4
Ensemble de Trombones
4
Trompette, Piano
4
Tuba et Piano
4
2 Tubas (duo)
3
2 Trombones (duo)
3
Ensemble de Trompettes
2
2 Cors (duo)
2
Bass Clef Instruments
1
Cor Anglais
1
2 Trompettes (duo)
1
Cor anglais, Piano
1
+ 17 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
16
Violon
12
Violon et Piano
11
Violoncelle
10
Alto, Piano
9
Alto seul
8
Trio à Cordes: violon, alto, violoncelle
7
Violoncelle, Piano
6
Harpe
6
Contrebasse, Piano (duo)
5
Contre Basse
4
2 Violons (duo)
4
Alto (partie séparée)
3
2 Altos (duo)
3
Violon, Violoncelle (duo)
3
2 Violoncelles (duo)
2
2 Contrebasses (duo)
2
Violon (partie séparée)
1
Violoncelle (partie séparée)
1
Alto, Violoncelle (duo)
1
Ensemble d'Altos
1
Trio à Cordes: 2 violons, violoncelle
1
Trio à Cordes: 3 violoncelles
1
Ensemble de Violons
1
+ 19 instrumentations
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Orchestre & Percussions
Orchestre à Cordes
16
Orchestre d'harmonie
16
Ensemble Jazz
13
Orchestre
11
Marimba
5
Xylophone
2
Xylophone, Piano
2
Orchestre de chambre
2
Fanfare
1
Vibraphone
1
Jazz combo
1
Ensemble de cuivres
1
Ensemble de Percussions
1
Batterie (partie séparée)
1
+ 9 instrumentations
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CLAIRON
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CONTREBASSE
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DOBRO - GUI…
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FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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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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Vous avez sélectionné:
The Very Thought Of You
SheetMusicPlus
Partitions à imprimer
11 partitions trouvées
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1
The Very Thought Of You
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Orchestre
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INTERMÉDIAIRE
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Jazz
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Frank Sinatra
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Jeremy Fox
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The Very Thought Of You
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JEREMY S FOX
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SheetMusicPlus
By Frank Sinatra. By Ray Noble. Arranged by Jeremy Fox. Jazz, Standards. Score and parts. 22 pages. JEREMY S FOX #692126. Published by JEREMY S FOX...
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By Frank Sinatra. By Ray Noble. Arranged by Jeremy Fox. Jazz, Standards. Score and parts. 22 pages. JEREMY S FOX #692126. Published by JEREMY S FOX
$75.00
Rosary Sonatas: The Presentation
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Presentati
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and part...
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Full Orchestra - Level 4 - SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 79 pages. JMJ Arrangements #685710. Published by JMJ Arrangements (A0.1081594). [W]hen the time came for their purification according to the law of Moses, they brought him up to Jerusalem to present him to the Lord (as it is written in the law of the Lord, 'Every male that opens the womb shall be called holy to the Lord') and to offer a sacrifice according to what is said in the law of the Lord, 'a pair of turtledoves, or two young pigeons.' Now there was a man in Jerusalem, whose name was Simeon, and this man was righteous and devout, looking for the consolation of Israel, and the Holy Spirit was upon him. And it had been revealed to him by the Holy Spirit that he should not see death before he had seen the Lord’s Christ. And inspired by the Spirit he came into the temple; and when the parents brought in the child Jesus, to do for him according to the custom of the law, he took him up in his arms and blessed God and said, 'Lord, now lettest thou thy servant depart in peace, according to thy word; for mine eyes have seen thy salvation which thou hast prepared in the presence of all peoples, a light for revelation to the Gentiles, and for glory to thy people Israel.' And his father and his mother marveled at what was said about him; and Simeon blessed them and said to Mary his mother, 'Behold, this child is set for the fall and rising of many in Israel, and for a sign that is spoken against (and a sword will pierce through your own soul also), that thoughts out of many hearts may be revealed.' ... And when they had performed everything according to the law of the Lord, they returned into Galilee, to their own city, Nazareth. And the child grew and became strong, filled with wisdom; and the favor of God was upon him. (Luke 2:22-35, 39-40 RSV-CE).
$19.99
Love Made a Way - Set of Parts (Digital Download)
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Orchestre
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Jay Rouse and Mary McDonald
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Love Made a Way - Set of Parts
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Full Orchestra, Instrumental Parts - SKU: LX.30-3739MD The Journey of Christmas. Composed by Jay Rouse and Mary McDonald. Choral Cantatas. Advent...
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Full Orchestra, Instrumental Parts - SKU: LX.30-3739MD The Journey of Christmas. Composed by Jay Rouse and Mary McDonald. Choral Cantatas. Advent, Christmas. Set of Parts (). 579 pages. Lorenz Publishing - Digital Sheet Music #e30/3739MD. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3739MD). Downloadable Set of Parts for 65/2104MD Mary McDonald and Jay Rouse combine their compositional gifts to bring us this moving musical for Advent and Christmas. Beautiful music from Mary and Jay, deeply thoughtful narrations from Rose Aspinall, and a fabulous orchestration by Ed Hogan and Jay highlight the message at the heart of Christmas—God’s love through Jesus Christ. You’ll find a bit of everything here, including original songs, familiar carols, fresh settings of timeless Christmas favorites, and ministry songs that will reach the heart of every listener. Songs like Mary’s Sing Out Our Savior’s Birth and Look on Him with Love and Jay’s A Midwinter Noel and Love Made a Way all serve to bring into focus God’s undeserved and unfathomable love through Jesus Christ. Celebrate how love made a way for each of us with this impactful musical! His coming means freedom for the captive, sight for the blind, good news for the poor. Jesus is Love incarnate, and He alone makes a way home for fallen man..
$249.95
Chevalier De Sangreal
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Orchestre
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AVANCÉ
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Hans Zimmer
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Chevalier De Sangreal
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www.studio-orchestrations.com
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Rel...
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Full Orchestra - Level 5 - SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Religious,Thriller. 102 pages. Www.studio-orchestrations.com #1010904. Published by www.studio-orchestrations.com (A0.1430275). From the 2006 Ron Howard film adaptation of Dan Brown's The Da Vinci Code, this track is taken from the soundtrack which underscores the final late night walk by Robert Langdon (played by Tom Hanks) through the streets of Paris to (possibly and hopefully) conclude his long and testing quest to seek the Holy Grail. No spoilers however. If you've not seen it, then add it to your playlist!The film's soundtrack evokes great emotion throughout and whatever criticisms there may have been over the years about the book, the story, the film etc.. this is definitely one of Hans Zimmer's finest emotional and thought provoking soundtrack scores, drawing from a huge range of musical influences, from the big symphonic oceanic sounscapes to the intimate vocal solo and choral plainchant that are peppered throughout the score. It is an example of how a soundtrack can really make a massive difference to what some might describe glibly as a popcorn movie.Very much like Time in Inception Zimmer takes a relatively simple harmonic and melodic trope and adds layers of melodic counter melody and rhythmic building to create an awe inspiring and (let's face it BIG!) climax, supporting the narrative of the film and story but also creating music that can be taken away from the cinematic experience and enjoyed for its own sake.This orchestration emulkates as closely as possible the soundtrack. Some licence has been taken with the addition of 2 Trumpets which build the climax with the upper strings. SATB choir is also scored as per the original soundtrack but optional as it is mostly covered by orchestral instruments and is also a very brief appearance but - at least for the sopranos - extremely challenging for anyone apart from a professional specialist choral ensemble. The synth section of the keyboard part in the opening pages can also be optional, adding some background sounds that Zimmer is so renowned for (this may be beyond the budget of some performing groups we appeciate). However the piano cues later in the piece are highly desirable as they add a percussive support to the strings.We commend this score to anyone buidling a program of film music for their orchestral event, particularly if you are wishing to include some more modern concert ideas, and in particular a Hans Zimmer classic.INSTRUMENTATON:2 Flutes2 Oboes2 Clarinets2 Bassoons1 Contra-Bassoon (Optional)4 Horns2 Trumpets3 Trombones1 TubaTimpani2 Percussion[Cymbals/Suspp.Cymbal/Bass Drum/Tubular Bells]KeyboardSATB Choir [Optional]Strings.
$150.00
Symphony No. 7 ... Roman Holidays (2008, rev. 2013)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Symphony No. 7 ... Roman Holid
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. Wit...
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Full Orchestra - Level 4 - SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons. 153 pages. Thomas Oboe Lee #3895. Published by Thomas Oboe Lee (A0.869183). Instrumentation: 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French Horns in F 2 Trumpets in Bb 3 Trombones Tuba TimpaniPercussion 1: triangle, claves, tom-toms, cow-bells Percussion 2: snare drum, bass drum 1st Violin 2nd Violin Viola Cello Double bass This is a transposed score. Program note: My love affair with the city of Rome dates back to the year 1986-87 when I spent just under eleven months at the American Academy in Rome on a Rome Prize Fellowship. During that Fellowship year I was very much inspired by the beauty and culture of the Eternal City, which resulted in a number of works that continue to resonate with me: Twenty-nine Fireflies Book II for solo piano; Concertino for trumpet, timpani and strings; Apples … six dreams by Richard Kenney; String Quartet No 5 … Four Birthdays; and Chôrinhos … opus 38. Since 1997 my wife, Kristin Beckwith, and I have returned to the American Academy in Rome almost every year. I would compose in the morning and then my wife and I would go to our usual haunt at Bar G. for cappuccini and cornetti. And then we’d go to the local bakery and street markets and buy stuff for lunch. In the afternoon we would wander into the city to go shopping and sight-seeing. In the evenings we would dine at one of our favorite local trattorias. Life could not be better in Rome. Musically speaking, several important works in my portfolio had their beginnings during these sojourns at the Academy , among them Yo Picasso, Flauta Carioca, Mass for the Holy Year 2000, Symphony No. 5 … Utopia Parkway, Twenty-nine Fireflies Books IV & V, and Piano Concerto … Mozartiana. Just before the 2008 recession, clarinetist extraordinaire Jonathan Cohler asked me to write a symphony for the inaugural concert of a new orchestra he was planning to create. I came up with Symphony No. 7 … Roman Holidays, my give back to the city of Rome – a compendium of favorite places that continue to live in my thoughts and musings. Although the work is heard in four movements, it is actually divided into seven sections, as in the seven hills of Rome. 1. Prelude: Fontana Paola and the panoramic view of the city of Rome from that vantage point. 2. First interlude: La Befana festivities at Piazza Navona. The Protestant Cemetery in Testaccio at night under a full moon. 3. Second interlude: Fontana delle Tartughe in the Jewish Ghetto. Bernini’s Apollo and Daphne at the Galleria Borghese. 4. Third interlude: Bernini’s Beata Ludovica Albertoni in Trastevere. The Spanish Steps and the view of Rome from the French Academy at Villa Medici. NB: Unfortunately, thanks to the recession, Roman Holidays never saw the light of day. This year (2013) I decided to revisit the work, which lay dormant for 5 five years, and saw that it could use a little tweaking. The new version is essentially the same, musically speaking. I reduced the orchestration a bit (two horns instead of four, and two trumpets instead of three) and added more heft to the lower brass. I completely rewrote the tune for the floating foreign ghosts at the Protestant Cemetery. I also shortened the work by about three minutes by cutting some repeats. Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-7-roman-holidays-2008-rev-2013Video link: https://youtu.be/1DlzEOUmH54
$9.99
Tombland Fanfare
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Orchestre
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AVANCÉ
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Contemporain
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Eoin Buchanan
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Tombland Fanfare
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7plc Music
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1017072 Composed by Eoin Buchanan. Contemporary. Score and parts. 87 pages. 7plc Music #6079111. Published by 7plc Mu...
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Full Orchestra - Level 5 - SKU: A0.1017072 Composed by Eoin Buchanan. Contemporary. Score and parts. 87 pages. 7plc Music #6079111. Published by 7plc Music (A0.1017072). At the centre of the Norfolk city of Norwich lies Tombland. The name evokes thoughts of haunting, death and Black Plague burial pits. Actually Tombland simply means empty space and it was here that Norwich market was sited. Violence seems to have been a recurring theme in the history of Tombland. In 1549 Robert Kett led a rebellion against the enclosure of common land. After a fierce attack on Bishop Bridge, Kett and his band of followers gained access to the city and took the Mayor, Thomas Codd, prisoner. Having spent a number of years as a clergyman in the Diocese of Norwich, I can tell you that this area is very different nowadays. However, its Normal cathedral and older buildings still offer a sense of struggles past, present and future. Inspired by Ray Sampson’s book, Tombland, this original work for full orchestra uses harmonic and rhythmic dissonance to portray the violent and oppressive struggle between those with and ‘those without. The blacksmith’s anvil heralds village life with church bells sounding and flute introducing children playing in the village square. Very quickly the scene changes as Basses offer a deep threatening tone and slowly the rhythmic confusion builds to an eventual climax. Horns then introduce a quasi carillon Dies Irae theme and flutes and piccolo enter with a haunting bird call until low strings and Cor Anglais begin the build up to chaos once again. The work’s false, dying ending suddenly gives way to a sacred style chorale leading to the very abrupt Malcolm Arnold style ending.
$35.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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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
Haydn's Sonata in E Minor
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Fabio Henrique Teles Martins
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Fabio Henrique Teles Martins
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Haydn's Sonata in E Minor
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Fabio Dentello
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1152147 By Fabio Henrique Teles Martins. By Franz Joseph Haydn. Arranged by Fabio Henrique Teles Martins. Classical. ...
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Full Orchestra - Level 4 - SKU: A0.1152147 By Fabio Henrique Teles Martins. By Franz Joseph Haydn. Arranged by Fabio Henrique Teles Martins. Classical. Score and Parts. 104 pages. Fabio Dentello #752360. Published by Fabio Dentello (A0.1152147). Being one of his most elegant piano sonatas, the sonata in E minor (Hob. XVI: 34) can give us various feelings during its movements. It has a beautiful Adagio and a slight Molto Vivace as a Finale in Rondo form. This piece as said was thought of as a solo Piano Sonata, but the moment I heard it for the first time (on 12/18/2022, and yes, it was precisely on that day, because, I made the decision to start orchestrating it on the next day, the 19th) the idea of orchestrating it came to me because at least for me, it could sound like a beautiful symphony, even if it is very brief. I was extremely satisfied with the results, unfortunately with certain limitations of the VST I use (BBCSO pro) certain excerpts sound a little unrealistic, however, I have great esteem with the result. This orchestration/arrangement can be compared almost faithfully with the original, of course with several additions of voices and certain modifications to adapt it to the context of the orchestra, I tried to be as faithful as possible with Haydn's orchestral language, I am a great admirer of his vast work, and as I am also a classical/romantic composer, I learned a lot from him. I hope you enjoy this work as much as I enjoyed composing it!!
$150.00
Love Made a Way - Full Score (Digital Download)
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Orchestre
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Jay Rouse and Mary McDonald
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Love Made a Way - Full Score
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Conductor's Score, Full Orchestra - SKU: LX.30-3738MD The Journey of Christmas. Composed by Jay Rouse and Mary McDonald. Choral Cantatas. Advent,...
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Conductor's Score, Full Orchestra - SKU: LX.30-3738MD The Journey of Christmas. Composed by Jay Rouse and Mary McDonald. Choral Cantatas. Advent, Christmas. Full Score (). 166 pages. Lorenz Publishing - Digital Sheet Music #e30/3738MD. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3738MD). Downloadable Full Score for 65/2104MD Mary McDonald and Jay Rouse combine their compositional gifts to bring us this moving musical for Advent and Christmas. Beautiful music from Mary and Jay, deeply thoughtful narrations from Rose Aspinall, and a fabulous orchestration by Ed Hogan and Jay highlight the message at the heart of Christmas—God’s love through Jesus Christ. You’ll find a bit of everything here, including original songs, familiar carols, fresh settings of timeless Christmas favorites, and ministry songs that will reach the heart of every listener. Songs like Mary’s Sing Out Our Savior’s Birth and Look on Him with Love and Jay’s A Midwinter Noel and Love Made a Way all serve to bring into focus God’s undeserved and unfathomable love through Jesus Christ. Celebrate how love made a way for each of us with this impactful musical! His coming means freedom for the captive, sight for the blind, good news for the poor. Jesus is Love incarnate, and He alone makes a way home for fallen man..
$99.95
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The Very Thought Of You
