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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
ending
Non classifié
1 814
Piano & claviers
Piano seul
1 251
Piano, Voix et Guitare
453
Instruments en Do
430
Piano, Voix
379
Piano Facile
231
Orgue
156
Accompagnement Piano
116
1 Piano, 4 mains
40
Piano Trio: piano, violon, violoncelle
14
Piano (partie séparée)
9
2 Pianos, 4 mains
9
Orgue, Trompette (duo)
5
Orgue, Piano (duo)
3
Piano Quatuor: piano, 2 violons, violoncelle
3
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Clavecin
2
1 Piano, 6 mains
2
Piano grosses notes
2
Accordéon
1
Clavier
1
Ligne De Mélodie, Piano
1
2 Pianos, 8 mains
1
+ 18 instrumentations
Retracter
Guitares
Guitare notes et tablatures
505
Guitare
76
Ukulele
41
Ligne De Mélodie, (Paroles) et Accords
29
Guitare (partie séparée)
17
2 Guitares (duo)
15
Basse electrique
13
Paroles et Accords
12
Dulcimer
7
4 Guitares (Quatuor)
6
Banjo
2
Mandoline
2
Piano, Guitare (duo)
2
+ 8 instrumentations
Retracter
Voix
Chorale SATB
758
Chorale 3 parties
225
Chorale TTBB
98
Chorale Unison
94
Chorale 2 parties
85
Chorale SSAA
72
Voix duo, Piano
25
Voix Tenor, Piano
18
Voix duo
16
Voix Soprano, Piano
15
Voix seule
10
Voix Alto, Piano
9
Voix haute
8
Voix Tenor
6
Voix moyenne, Piano
4
Chorale SSAATTBB
4
Chorale SSAB, Piano
2
Voix Baryton, Piano
2
Voix basse, Piano
2
Chorale
2
Chorale SSATB
1
Chorale SSATTB
1
Voix Soprano
1
+ 18 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
187
Flûte, Hautbois, Clarinette, Basson
165
Flûte traversière et Piano
94
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
78
Saxophone (partie séparée)
71
Clarinette et Piano
46
Saxophone Alto et Piano
46
Hautbois, Piano (duo)
45
Quatuor de Clarinettes: 4 clarinettes
34
Saxophone Alto
33
Quintette de Saxophone: 5 saxophones
33
Flûte traversière
31
2 Flûtes traversières, Piano
25
Ensemble de Clarinettes
24
Quatuor de Flûtes : 4 flûtes
24
Saxophone Tenor et Piano
24
Ensemble de Flûtes
22
2 Flûtes traversières (duo)
21
Clarinette
20
Saxophone Tenor
19
3 Clarinettes (trio)
17
Ensemble de saxophones
17
Quintette de Clarinettes: 5 clarinettes
16
Trio de Flûtes: 3 flûtes
16
Harmonica
14
2 Clarinettes (duo)
13
Saxophone Soprano et Piano
13
Saxophone Baryton, Piano
13
Quintette de Flûte : 5 flûtes
12
Clarinette (partie séparée)
11
Flute (partie séparée)
11
Hautbois (partie séparée)
11
Clarinette Basse, Piano
9
3 Saxophones (trio)
9
Cor anglais, Piano
9
Flûte, Clarinette (duo)
8
2 Saxophones (duo)
7
Hautbois, Clarinette, Basson (trio d'anches)
5
Hautbois
5
Flûte, Clarinette et Basson
4
Flûte, Violon, Piano
3
Clarinette, Violoncelle (duo)
3
Hautbois, Basson (duo)
3
Flûte et Guitare
3
2 Flûte à bec (duo)
3
Hautbois, Flûte
3
Saxophone et Guitare
2
Flûte, Hautbois, Basson
2
Flûte, Hautbois (duo)
2
Piccolo, Piano
2
2 Flûtes, 2 Clarinettes (Quatuor)
2
Hautbois, Clarinette (duo)
2
Flûte, Hautbois, Clarinette (trio)
2
Flûte à bec Soprano
2
Flûte à Bec
2
2 Hautbois (duo)
2
Ensemble à vent
2
Cor Anglais
2
Clarinette, Guitare (duo)
2
Clarinette, Basson (duo)
2
Hautbois, Violoncelle
1
Ocarina
1
Clarinette, Violoncelle, Piano (trio)
1
Clarinette, Harpe (duo)
1
Flûte à bec Tenor
1
Flûte, Alto et Piano
1
Flûte de Pan
1
Flûte irlandaise
1
Harmonica, Piano
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte traversière, Orchestre
1
Hautbois, Harpe
1
Cor anglais, Guitare (duo)
1
Flûte, Violoncelle
1
3 Hautbois
1
Ensemble De Flûte à bec
1
Instruments en Mib
1
Flûte, Basson et Piano
1
Flûte, Saxophone (duo)
1
Flûte, Violoncelle, Piano (trio)
1
Clarinette, Orgue
1
+ 76 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
151
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
116
Trombone (partie séparée)
59
Trompette (partie séparée)
42
Trompette, Piano
38
Trompette
36
Trombone et Piano
35
Cor et Piano
34
Quatuor de Cuivres
24
Quatuor de Cuivres: 2 trompettes, Cor, trombone
23
Quatuor de cuivres: 4 trombones
17
Euphonium, Piano (duo)
16
Trombone
16
Ensemble de Trombones
15
Cor
13
Tuba
12
Cor (partie séparée)
12
2 Trompettes (duo)
10
Cor anglais, Piano
9
Tuba (partie séparée)
8
Trio de Cuivres
7
Tuba et Piano
5
Trompette, Trombone (duo)
4
Ensemble de Trompettes
4
3 Trompettes (trio)
3
2 Trombones (duo)
3
Trompette, Violoncelle (duo)
3
Quatuor de cuivres: 4 cors
3
Ensemble de Cors
3
Euphonium
3
Euphonium, Tuba (duo)
2
Cor, Violoncelle (duo)
2
2 Euphoniums et 2 Tubas
2
Trompette, Cor (duo)
2
2 Cors (duo)
2
Cor Anglais
2
Trombone, Cor (duo)
1
Trombone et orchestre
1
Bass Clef Instruments
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Cor et Orgue
1
Cor anglais, Guitare (duo)
1
2 Tubas (duo)
1
3 Cors (trio)
1
Trompette, Basson (duo)
1
Instruments en Sib
1
3 Trombones (trio)
1
2 Cors, Piano
1
Trompette, Trombone, Piano
1
+ 44 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
322
Violon et Piano
121
Violoncelle, Piano
71
Violon
63
Harpe
46
Alto, Piano
44
Trio à Cordes: violon, alto, violoncelle
39
Violoncelle
39
Violon, Violoncelle (duo)
28
Alto seul
25
Violon (partie séparée)
19
Trio à Cordes: 2 violons, violoncelle
18
Contrebasse (partie séparée)
18
2 Violons (duo)
14
Alto (partie séparée)
10
2 Harpes (duo)
9
Violoncelle (partie séparée)
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Violon, Alto (duo)
7
2 Violoncelles (duo)
7
Piano Trio: Violon, Alto, Piano
5
Contrebasse, Piano (duo)
5
2 Altos (duo)
5
Contre Basse
4
Violon, Guitare (duo)
4
Ensemble de Violons
4
Ensemble d'Altos
4
4 Violoncelles
4
Trio à Cordes: 3 violoncelles
3
Trio à cordes: 3 violins
3
Harpe, Flûte (duo)
3
Alto, Violoncelle (duo)
2
Violon, Violoncelle, Clarinette
1
Violon, Clarinette, Piano (trio)
1
Trio à Cordes: 2 violons, alto
1
Trio à cordes: 3 altos
1
Alto, Guitare (duo)
1
3 Harpes
1
Violoncelle , Guitare (duo)
1
Harpe, Violon (duo)
1
Flûte, Contrebasse (duo)
1
Alto et Basson
1
Alto et Harpe
1
+ 38 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
561
Orchestre à Cordes
150
Ensemble Jazz
140
Cloches
136
Orchestre
134
Ensemble de cuivres
60
Fanfare
47
Jazz combo
40
Orchestre de chambre
34
Batterie
20
Ensemble de Percussions
13
Batterie (partie séparée)
9
Percussion (partie séparée)
6
Xylophone, Piano
5
2 Xylophones
4
Vibraphone
3
Quintette de Cuivres: autres combinaisons
2
Timbales (partie séparée)
2
Marimba
2
Percussion
2
2 Marimbas
1
3 Marimbas
1
+ 17 instrumentations
Retracter
Autres
Formation musicale - Solfège
1
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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
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Idomeneo Overture, K. 366 concert ending by Yoon Jae Lee - Set of Parts
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
#
Yoon Jae Lee
#
Idomeneo Overture, K. 366 conc
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Ondine Press
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1233066 Composed by Wolfgang Amadeus Mozart. Arranged by Yoon Jae Lee. Chamber,Classical,Early Music,Historic,Opera. ...
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Full Orchestra - Level 4 - SKU: A0.1233066 Composed by Wolfgang Amadeus Mozart. Arranged by Yoon Jae Lee. Chamber,Classical,Early Music,Historic,Opera. 59 pages. Ondine Press #828698. Published by Ondine Press (A0.1233066). Instrumentation: 2. 2. 2. 2 – 2. 2. 0. 0 – tp – strThis is a set of parts to Yoon Jae Lee's concert ending of Mozart's Overture to Idomeneo. The full score is available separately.This newly composed concert ending to Mozart's Idomeneo overture by conductor & arranger Yoon Jae Lee allows for a more conventional forte ending that is akin to other overtures by Mozart. Although the overture ends on the tonic (D Major), it ends softly because it leads directly into the opera. Unlike Carl Reinecke's crude and unseemly version, this concert ending is based on themes and motifs that occur in the overture itself and stays true to the character of Mozart's classical compositional style. It is a welcome addition to the concert overture oeuvre.Click here to view perusal score.
$60.00
Idomeneo Overture, K. 366 concert ending by Yoon Jae Lee - Score Only
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Wolfgang Amadeus Mozart
#
Yoon Jae Lee
#
Idomeneo Overture, K. 366 conc
#
Ondine Press
#
SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1233065 Composed by Wolfgang Amadeus Mozart. Arranged by Yoon Jae Lee. Chamber,Classical,Early Music,Historic,Opera. ...
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Full Orchestra - Level 4 - SKU: A0.1233065 Composed by Wolfgang Amadeus Mozart. Arranged by Yoon Jae Lee. Chamber,Classical,Early Music,Historic,Opera. 18 pages. Ondine Press #828697. Published by Ondine Press (A0.1233065). Instrumentation: 2. 2. 2. 2 – 2. 2. 0. 0 – tp – strThis is a full score to Yoon Jae Lee's concert ending of Mozart's Overture to Idomeneo. The set of parts is available separately.This newly composed concert ending to Mozart's Idomeneo overture by conductor & arranger Yoon Jae Lee allows for a more conventional forte ending that is akin to other overtures by Mozart. Although the overture ends on the tonic (D Major), it ends softly because it leads directly into the opera. Unlike Carl Reinecke's crude and unseemly version, this concert ending is based on themes and motifs that occur in the overture itself and stays true to the character of Mozart's classical compositional style. It is a welcome addition to the concert overture oeuvre.Click here to view perusal score.
$25.00
Bruch: Violin Concerto No.1 in G Minor: I. concert ending by Yoon Jae Lee (Version B for Orchestra),
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Orchestre
#
INTERMÉDIAIRE
#
Classique
#
Max Bruch
#
Yoon Jae Lee
#
Bruch: Violin Concerto No.1 in
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Ondine Press
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.866087 Composed by Max Bruch. Arranged by Yoon Jae Lee. Romantic Period. Score and parts. 20 pages. Ondine Press #203...
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Full Orchestra - Level 3 - SKU: A0.866087 Composed by Max Bruch. Arranged by Yoon Jae Lee. Romantic Period. Score and parts. 20 pages. Ondine Press #2030763. Published by Ondine Press (A0.866087). This is a set of parts to Version B of Yoon Jae Lee's concert ending to the first movement of Bruch's Violin Concerto No.1 in G Minor, Op. 26.
$20.00
Bruch: Violin Concerto No.1 in G Minor: I. concert ending by Yoon Jae Lee (Version C for Orchestra),
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Orchestre
#
INTERMÉDIAIRE
#
Classique
#
Max Bruch
#
Yoon Jae Lee
#
Bruch: Violin Concerto No.1 in
#
Ondine Press
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.866089 Composed by Max Bruch. Arranged by Yoon Jae Lee. Romantic Period. Score and parts. 20 pages. Ondine Press #203...
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Full Orchestra - Level 3 - SKU: A0.866089 Composed by Max Bruch. Arranged by Yoon Jae Lee. Romantic Period. Score and parts. 20 pages. Ondine Press #2030771. Published by Ondine Press (A0.866089). This is a set of parts to Version C of Yoon Jae Lee's concert ending to the first movement of Bruch's Violin Concerto No.1 in G Minor, Op. 26.
$20.00
The Lark Ascending Solo Flute and Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
#
Ralph Vaughan Williams
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John M
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The Lark Ascending Solo Flute
#
zephyrwindmusic.com
#
SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1491661 Composed by Ralph Vaughan Williams. Arranged by John M. Laverty. 20th Century,Classical. 85 pages. Zephyrwind...
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Full Orchestra - Level 4 - SKU: A0.1491661 Composed by Ralph Vaughan Williams. Arranged by John M. Laverty. 20th Century,Classical. 85 pages. Zephyrwindmusic.com #1068340. Published by zephyrwindmusic.com (A0.1491661). Best known as a work for violin and piano, The Lark Ascending was also set by Vaughan Williams for soloist with orchestra. This edition substitutes the flute as soloist and alters some of the original accompaniment to better fit a different instrument playing the solo part. As with all Zephyrwindmusic publications, parts come with an Unlimited Copy License, thus removing any copyright issues in the way parts are used. Parts can be used in analog form – printed on paper – or uploaded as a digital part onto a reading device such as an iPad for performance. Parts can also be legally uploaded onto a website for players to download.
$50.00
Symphony No. 9, Mercurio Ascending, for Orchestra, Full Score and Parts
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Orchestre
#
INTERMÉDIAIRE
#
James Nathaniel Holland
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Symphony No. 9, Mercurio Ascen
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James Nathaniel Holland
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.730527 Composed by James Nathaniel Holland. Contemporary,Holiday,Wedding. Score and parts. 228 pages. James Nathaniel...
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Full Orchestra - Level 3 - SKU: A0.730527 Composed by James Nathaniel Holland. Contemporary,Holiday,Wedding. Score and parts. 228 pages. James Nathaniel Holland #6235261. Published by James Nathaniel Holland (A0.730527). Mercurio Ascending (Mercury Rising) Ninth symphony of American, 21st century composer James Nathaniel Holland. For medium to small orchestra. The symphony begins with an light, fantastical and joyous first movement as would be associated with Hermes, or Roman Mercury, and his attributes, with contrasting minuet. A beautiful slow movement and into a shiny, stainless steel, metro and rousing third. Orchestration for medium group: fl12, ob12, clBb12, bsn 12, hrns 12, tpt Bb12, trom12, timp, perc (Tambourine, Castanets, Wind Chimes, Bass Drum, Large Gong, Snare, Cymbal, Triangle, Wood block), strings. Video Demo link: https://youtu.be/tMZzntJrg2Q .
$25.95
November Rain (Ending part) - Gun's n' Roses
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Orchestre
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AVANCÉ
#
Rock
#
Guns N' Roses
#
Armand Broshka
#
Roses
#
November Rain
#
Armand Broshka
#
SheetMusicPlus
By Guns N' Roses. Arranged by Armand Broshka. Score, Set of Parts. 43 pages. Published by Armand Broshka ...
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By Guns N' Roses. Arranged by Armand Broshka. Score, Set of Parts. 43 pages. Published by Armand Broshka
?November Rain? (Ending part of the song) For Guitar Solo, Rock Band, Back Vocals & Symphonic Orchestra.
$39.99
Happy Ending
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Orchestre
#
INTERMÉDIAIRE
#
Film Walt Disney
#
Alan Menken
#
Harry Walker
#
Happy Ending
#
SCORE EDITIONS
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1388186 Composed by Alan Menken. Arranged by Harry Walker. Broadway,Children,Film/TV,Musical/Show,Singer/Songwriter. ...
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Full Orchestra - Level 3 - SKU: A0.1388186 Composed by Alan Menken. Arranged by Harry Walker. Broadway,Children,Film/TV,Musical/Show,Singer/Songwriter. 63 pages. SCORE EDITIONS #971783. Published by SCORE EDITIONS (A0.1388186). Alan Menken teamed up with Howard Ashman to work on the score for the 1989 Disney film, The Little Mermaid. It remains one of the most decorated albums in Menkenâ??s wheelhouse, with it receiving multi-platinum sales and two Grammys, two Academy Awards and a Golden Globe. In this version, the composition was arranged for Symphonic Orchestra and Choir by Harry Walker.
$64.99
The Never Ending Story: Timpani
#
Orchestre
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The Never Ending Story: Timpan
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0018396_TMP Instructional. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_TMP. Published by Alfred Music - Di...
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Full Orchestra - SKU: AX.00-PC-0018396_TMP Instructional. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_TMP. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018396_TMP). UPC: 038081558677.
$3.00
The Never Ending Story: Bassoon
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Orchestre
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The Never Ending Story: Bassoo
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0018396_B1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_B1. Published by Alfred Music - Digi...
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Full Orchestra - SKU: AX.00-PC-0018396_B1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_B1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018396_B1). UPC: 038081558677.
$3.00
The Never Ending Story: Flute
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Orchestre
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The Never Ending Story: Flute
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0018396_F1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_F1. Published by Alfred Music - Digi...
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Full Orchestra - SKU: AX.00-PC-0018396_F1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_F1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018396_F1). UPC: 038081558677.
$3.00
The Never Ending Story: Cello
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Orchestre
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The Never Ending Story: Cello
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0018396_VC1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_VC1. Published by Alfred Music - Di...
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Full Orchestra - SKU: AX.00-PC-0018396_VC1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_VC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018396_VC1). UPC: 038081558677.
$3.00
NEVER ENDING STORY,THE/PCF: String Bass
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Orchestre
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NEVER ENDING STORY,THE/PCF: St
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0018396_SB Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_SB. Published by Alfred Music - Digi...
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Full Orchestra - SKU: AX.00-PC-0018396_SB Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018396_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018396_SB). UPC: 038081558677.
$3.00
NEVER ENDING STORY,THE/PCF: Score
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Orchestre
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NEVER ENDING STORY,THE/PCF: Sc
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PR-0006601 Instructional. Score. 16 pages. Alfred Music - Digital Sheet Music #00-PR-0006601. Published by Alfred Music - Di...
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Full Orchestra - SKU: AX.00-PR-0006601 Instructional. Score. 16 pages. Alfred Music - Digital Sheet Music #00-PR-0006601. Published by Alfred Music - Digital Sheet Music (AX.00-PR-0006601). UPC: 038081558677.
$9.00
The Lark Ascending
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Orchestre
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AVANCÉ
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Contemporain
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Ralph Vaughan Williams
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The Lark Ascending
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zephyrwindmusic.com
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SheetMusicPlus
Composed by Ralph Vaughan Williams (1872-1958). Arranged by John M. Laverty. 20th Century, Classical. Score and parts. 97 pages. Zephyrwindmusic.com #...
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Composed by Ralph Vaughan Williams (1872-1958). Arranged by John M. Laverty. 20th Century, Classical. Score and parts. 97 pages. Zephyrwindmusic.com #741222. Published by zephyrwindmusic.com
$50.00
Good Wassail - Orchestra & Choir
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Orchestre
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AVANCÉ
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Bradley Sowash
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Bradley Sowash
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Good Wassail - Orchestra &
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Bradley Sowash
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.750100 By Bradley Sowash. By Heinrich Suso. Arranged by Bradley Sowash. Christmas,Classical,Jazz. Score and parts. 84...
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Full Orchestra - Level 5 - SKU: A0.750100 By Bradley Sowash. By Heinrich Suso. Arranged by Bradley Sowash. Christmas,Classical,Jazz. Score and parts. 84 pages. Bradley Sowash #4631. Published by Bradley Sowash (A0.750100). A blending of Good Christian Men Rejoice and Here We Come a Wassailing begins with a quiet choir feature that moves into an Afro Pop groove with an optional steel drum part (can also be performed on keyboard). A medium swing section follows before the big double time ending. Could also be performed as an instrumental with minor adjustments. (6:33 minutes) PDF format includes a license to make photocopies. Video: http://youtu.be/w2XJRlUEtBE Symphony Orchestra and optional Choir: 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 4 French Horns, 3 Trumpets, Violins I, II, Violas, Cellos, Contrabasses, Percussion, Piano, Amplified Bass, Drum Set, SATB Choir Learn more about the arranger: http://bradleysowash.com.
$50.00
Friend or Fiend for orchestra (parts)
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Orchestre
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AVANCÉ
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Contemporain
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Tom Swafford
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Friend or Fiend for orchestra
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Tom Swafford
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.914155 Composed by Tom Swafford. 20th Century,Contemporary. Score and parts. 64 pages. Tom Swafford #3630499. Publish...
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Full Orchestra - Level 5 - SKU: A0.914155 Composed by Tom Swafford. 20th Century,Contemporary. Score and parts. 64 pages. Tom Swafford #3630499. Published by Tom Swafford (A0.914155). Exciting and dramatic short orchestra piece with a wide variety of moods and textures, and a lot of rhythmic drive. The piece has 4 main themes in contrasting styles: Romantic (strings and horns), funky/rhythmic (clarinet), corny (piccolo), Â and lyrical (oboe). Â All the themes use the same principle notes (D, C sharp, B flat and A) and could be considered friendly or fiendish depending on your musical taste. At the climactic ending all the themes are layered on top of each other. It was composed for the U. C. Berkeley Orchestra and received an Eisner Prize from the U. C. Berkeley faculty. Duration: 7 minutes. ASCAP Instrumentation: 2+picc, 2, 2, 2, 2, 2, 2, 1, timp, 2 perc (perc 2 can double timp), strings
$25.00
Friend or Fiend for orchestra (score)
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Orchestre
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AVANCÉ
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Contemporain
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Tom Swafford
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Friend or Fiend for orchestra
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Tom Swafford
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.914153 Composed by Tom Swafford. 20th Century,Contemporary. Score and parts. 26 pages. Tom Swafford #3630493. Publish...
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Full Orchestra - Level 5 - SKU: A0.914153 Composed by Tom Swafford. 20th Century,Contemporary. Score and parts. 26 pages. Tom Swafford #3630493. Published by Tom Swafford (A0.914153). Exciting and dramatic short orchestra piece with a wide variety of moods and textures, and a lot of rhythmic drive. The piece has 4 main themes in contrasting styles: Romantic (strings and horns), funky/rhythmic (clarinet), corny (piccolo), Â and lyrical (oboe). Â All the themes use the same principle notes (D, C sharp, B flat and A) and could be considered friendly or fiendish depending on your musical taste. At the climactic ending all the themes are layered on top of each other. It was composed for the U. C. Berkeley Orchestra and received an Eisner Prize from the U. C. Berkeley faculty. Duration: 7 minutes. ASCAPÂ Instrumentation: 2+picc, 2, 2, 2, 2, 2, 2, 1, timp, 2 perc (perc 2 can double timp), strings
$5.00
Homage to O'Keeffe for Orchestra
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Orchestre
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AVANCÉ
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Sy Brandon
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Homage to O'Keeffe for Orchest
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Publi...
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Full Orchestra - Level 5 - SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia O’Keeffe’s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.
$39.99
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Symphony No. 3 in A minor, op. 17
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Orchestre
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
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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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
Curiosity for Orchestra
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Orchestre
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INTERMÉDIAIRE
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Britt Andrew Burns
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Curiosity for Orchestra
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Indie Classical Publications
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1489317 Composed by Britt Andrew Burns. 21st Century,Classical,Contemporary. 90 pages. Indie Classical Publications #...
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Full Orchestra - Level 3 - SKU: A0.1489317 Composed by Britt Andrew Burns. 21st Century,Classical,Contemporary. 90 pages. Indie Classical Publications #1066176. Published by Indie Classical Publications (A0.1489317). He orchestral version of Curiosity was completed in August, 2024. The work was inspired largely by my infant son, who reminded me when we lose our sense of curiosity in the world, we grow old. This high-energy work contains a simple motive in which all the thematic material is inspired from. A softer, more melodic middle section is lead by a longer theme. The work concludes with the original motive building in intensity until it reaches the climatic ending. Each part is carefully written to give each musician an energetic part, yet also with consideration to the instrument's nature.
$60.00
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