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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
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XYLOPHONE
In The Heat Of The Moment
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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CORNET
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
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HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
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SAXOPHONE
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Vous avez sélectionné:
In The Heat Of The Moment
Partitions à imprimer
88 partitions trouvées
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ATON part 19 The true destiny of Baketaton (piano, soprano and tenor)
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.576204 Composed by David War…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.576204 Composed by David Warin Solomons. Contemporary,World. Score. 12 pages. David Warin Solomons #6489. Published by David Warin Solomons (A0.576204). ATON is a stage play written by Manfred Strolz and Otmar Rützler which represents Egypt in the time of the Pharoahs but seen through the eyes of modern theatre directors and actors. The modern scenes are spoken but the Egyptian scenes require music, so Manfred and Otmar asked me to write the music for these. The music is composed for various forces as the play progresses, from the full orchestra (woodwind, strings, harp, piano, timpani) and choir down to more intimate moments with single voice or duets, flute and classical guitar or with single voice and bassoon. For each section the pdf file contains score and parts and the sound sample is an electronic preview. As I write, 19 sections have been composed, but more are to come - please just search for Aton in due course for the full picture. The first performance is planned to take place in the Landestheater in Innsbruck during 2015.
$5.00
4.6 €
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Piano, Voix
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David Warin Solomons
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ATON part 19 The true destiny of Baketaton
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David Warin Solomons
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SheetMusicPlus
ATON part 22 The New has driven out the Old
Instrumental Duet Bassoon,Instrumental Duet,Voice - Level 3 - Digital Download SKU: A0.…
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Instrumental Duet Bassoon,Instrumental Duet,Voice - Level 3 - Digital Download SKU: A0.576214 Composed by David Warin Solomons. Contemporary,Opera. Score and parts. 3 pages. David Warin Solomons #9883. Published by David Warin Solomons (A0.576214). ATON is a stage play written by Manfred Strolz and Otmar Rützler which represents Egypt in the time of the Pharoahs but seen through the eyes of modern theatre directors and actors. The modern scenes are spoken but the Egyptian scenes require music, so Manfred and Otmar asked me to write the music for these. The music is composed for various forces as the play progresses, from the full orchestra (woodwind, strings, harp, piano, timpani) and choir down to more intimate moments with single voice or duets, flute and classical guitar or with single voice and bassoon. For each section the pdf file contains score and parts and the sound sample is an electronic preview. As I write, 27 sections have been composed, but more are to come - please just search for Aton in due course for the full picture. The first performance is planned to take place in the Landestheater in Innsbruck during 2015.
$5.00
4.6 €
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David Warin Solomons
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ATON part 22 The New has driven out the Old
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David Warin Solomons
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SheetMusicPlus
Heat Of The Moment
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1249863 By Asia. By G…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1249863 By Asia. By Geoffrey Downes and John Wetton. Arranged by from68. Pop,Rock. Score. 12 pages. From68 #844347. Published by from68 (A0.1249863). 12P　 PDFVOCAL, GUITAR(TAB),BASS(TAB),KEYBOARD,DRUMSIn 1982, the super band Asia appeared as if success was guaranteed. From their debut album, we pick up this song that opens the album. This is a masterpiece that successfully combines the two polar opposites of large-scale progressive rock and three-minute pop.
$4.99
4.59 €
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Piano, Voix et Guitare
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Asia
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from68
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Heat Of The Moment
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from68
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SheetMusicPlus
In The Heat Of The Moment
Guitare notes et tablatures
Guitar - Digital Download SKU: HX.345668 By Noel Gallagher's High Flying Birds. Thi…
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Guitar - Digital Download SKU: HX.345668 By Noel Gallagher's High Flying Birds. This edition: scorch. Rock. Tablature. 5 pages. Published by Hal Leonard Europe (HX.345668).
$4.99
4.59 €
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Guitare notes et tablatures
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Noel Gallagher's High Flying Birds
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In The Heat Of The Moment
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Hal Leonard Europe
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SheetMusicPlus
In The Heat Of The Moment
Guitare notes et tablatures
Guitar - Digital Download SKU: HX.341507 By Noel Gallagher's High Flying Birds. By …
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Guitar - Digital Download SKU: HX.341507 By Noel Gallagher's High Flying Birds. By Noel Gallagher. This edition: scorch. Rock. Guitar Tab. 5 pages. Hal Leonard Europe #71228. Published by Hal Leonard Europe (HX.341507).
$4.99
4.59 €
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Guitare notes et tablatures
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Noel Gallagher's High Flying Birds
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In The Heat Of The Moment
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Hal Leonard Europe
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SheetMusicPlus
Heat Of The Moment
Guitar,Piano - Level 3 - Digital Download SKU: A0.1492657 By Asia. By Geoffrey Down…
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Guitar,Piano - Level 3 - Digital Download SKU: A0.1492657 By Asia. By Geoffrey Downes and John Wetton. Arranged by Jussi Kontinen. Pop,Rock. Score and part. 3 pages. Jussi Kontinen #1069334. Published by Jussi Kontinen (A0.1492657). This arrangement/transcription includes keyboard and bass parts and also most of the guitar parts written in small cue notes.
$5.99
5.51 €
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Asia
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Jussi Kontinen
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Heat Of The Moment
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Jussi Kontinen
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SheetMusicPlus
The Journey (Downloadable Piano/Vocal Score)
6 soloists, SATB choir, chamber orchestra (1[afl/pic] 1 2[1.bcl] 1 — 2 1 1 0  
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6 soloists, SATB choir, chamber orchestra (1[afl/pic] 1 2[1.bcl] 1 — 2 1 1 0 — 1 perc — hp, pf — str —Solo Voices — SATB Chorus) - Digital Download SKU: MQ.5969-E Composed by David Conte. Instrument part. 47 pages. E. C. Schirmer Music Company - Digital #5969-E. Published by E. C. Schirmer Music Company - Digital (MQ.5969-E). The Journey is a twenty-minute cantata extracted from the opera The Dreamers. The opera was commissioned and produced by the Sonoma City Opera in 1996; Antoinette Kuhry, producer; musical direction by John Miner; stage direction by Sanrda Bernhard. The Dreamers captures a formative moment in American history where characters are separated by their cultural and racial differences, and brought together by their dreams and their longing for a new home. The Journey was commissioned by the Oakland East Bay Symphony, Michael Morgan, conductor, and was premiered at the Paramount Theater in Oakland, CA on May 18th, 2001. To set the scene for the excerpt here entitled The Journey: The entire town of Sonoma is gathered at The Collonade Theater to watch an amateur production of Shakespeare's Othello. An unpleasant racial incident occurs which brings the performance to a halt. To smooth thingsover, a sing-a-long is proposed. The song chosen is My Old Kentucky Home by Stephen Foster. After a brief statement of that tune in the orchestra, the entire company enters a dream-state, as six characters from the opera, with commentary by the chorus, sing arias about home. Johnny Rowe, an American soldier stationed in Sonoma, serves as a kind of master-of-ceremonies. Black Sam is a freed slave working as a gambler in Sonoma to earn money to buy his wife out of slavery. Indian Princess Isadora is the last of her tribe. Jim and Mary Eastin have migrated to California from Kentucky. Lizzy Fine is a widow who sings a farewell to her departed husband. The finale of this sequence is an Octet, where all six characters and the men and women of the chorus sing their various texts together, ending with the words from Stephen Foster: Weep no more.
$16.00
14.72 €
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David Conte
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Antoinette Kuhry, producer
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The Journey
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Noel Gallagher's High Flying Birds: In The Heat Of The Moment - guitar (tablature)
Guitare notes et tablatures
Instantly printable sheet music by Noel Gallagher's High Flying Birds for guitar (tab…
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Instantly printable sheet music by Noel Gallagher's High Flying Birds for guitar (tablature) of MEDIUM skill level. / rock
$6.97
6.41 €
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Guitare notes et tablatures
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Noel Gallagher's High Flying Birds
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Virtualsheetmusic
Noel Gallagher's High Flying Birds: In The Heat Of The Moment - guitar (tablature)
Guitare notes et tablatures
Instantly printable sheet music by Noel Gallagher's High Flying Birds for guitar (tab…
(+)
Instantly printable sheet music by Noel Gallagher's High Flying Birds for guitar (tablature) of MEDIUM skill level. / rock
$6.97
6.41 €
#
Guitare notes et tablatures
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Noel Gallagher's High Flying Birds
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Virtualsheetmusic
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.85 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Rigoletto - Excerpts from the Opera - G Verdi (Brass Quintet)
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.802623
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.802623 Composed by Giuseppe Verdi. Arranged by Peet du Toit. Contemporary. Score and parts. 44 pages. Peet du Toit #6038777. Published by Peet du Toit (A0.802623). Rigoletto is an opera in three acts[a] by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the 1832 play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851.The work, Verdi's sixteenth in the genre, is widely considered to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto's daughter Gilda. The opera's original title, La maledizione (The Curse), refers to a curse placed on both the Duke and Rigoletto by a courtier whose daughter the Duke has seduced with Rigoletto's encouragement. The curse comes to fruition when Gilda falls in love with the Duke and sacrifices her life to save him from the assassin hired by her father.Many famous arias, and the quartet are among the many lovely moments captured in this arrangement. Enjoy!
$32.00
29.45 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Giuseppe Verdi
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Peet du Toit
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Rigoletto - Excerpts from the Opera - G Verdi
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Peet du Toit
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SheetMusicPlus
ATON part 17-Interlude and Chorus of the Liberals
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.576199 Composed by David War…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.576199 Composed by David Warin Solomons. Contemporary,Opera. Score and parts. 48 pages. David Warin Solomons #5617. Published by David Warin Solomons (A0.576199). ATON is a stage play written by Manfred Strolz and Otmar Rützler which represents Egypt in the time of the Pharoahs but seen through the eyes of modern theatre directors and actors. The modern scenes are spoken but the Egyptian scenes require music, so Manfred and Otmar asked me to write the music for these. The music is composed for various forces as the play progresses, from the full orchestra (woodwind, strings, harp, piano, timpani) and choir down to more intimate moments with single voice or duets, flute and classical guitar or with single voice and bassoon. For each section the pdf file contains score and parts and the sound sample is an electronic preview. As I write, 18 sections have been composed, but more are to come - please just search for Aton in due course for the full picture. The first performance is planned to take place in the Landestheater in Innsbruck during 2015.
$5.00
4.6 €
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Orchestre de chambre
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David Warin Solomons
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ATON part 17-Interlude and Chorus of the Liberals
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David Warin Solomons
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SheetMusicPlus
ATON part 18 - Baketaton in the Temple
Small Ensemble Flute,Guitar,Harp,High Voice - Level 3 - Digital Download SKU: A0.576200…
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Small Ensemble Flute,Guitar,Harp,High Voice - Level 3 - Digital Download SKU: A0.576200 Composed by David Warin Solomons. Contemporary,Opera. Score and parts. 14 pages. David Warin Solomons #5619. Published by David Warin Solomons (A0.576200). ATON is a stage play written by Manfred Strolz and Otmar Rützler which represents Egypt in the time of the Pharoahs but seen through the eyes of modern theatre directors and actors. The modern scenes are spoken but the Egyptian scenes require music, so Manfred and Otmar asked me to write the music for these. The music is composed for various forces as the play progresses, from the full orchestra (woodwind, strings, harp, piano, timpani) and choir down to more intimate moments with single voice or duets, flute and classical guitar or with single voice and bassoon. For each section the pdf file contains score and parts and the sound sample is an electronic preview. As I write, 18 sections have been composed, but more are to come - please just search for Aton in due course for the full picture. The first performance is planned to take place in the Landestheater in Innsbruck during 2015.
$5.00
4.6 €
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David Warin Solomons
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ATON part 18 - Baketaton in the Temple
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David Warin Solomons
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SheetMusicPlus
Of Roses and Lilies
Orchestre à Cordes
String Orchestra - Level 5 - Digital Download SKU: A0.800323 Composed by Sarah Wall…
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String Orchestra - Level 5 - Digital Download SKU: A0.800323 Composed by Sarah Wallin Huff. 20th Century,Contemporary,Spiritual. Score and Parts. 88 pages. Novel Soundtrax #2035933. Published by Novel Soundtrax (A0.800323). Completed in 2013, this work is A Romantic Expression Based on King Solomon's Song of Songs. Flirting with musical and dramatic elements from Medieval Europe to the ancient Middle East and Ancient Greek Theatre, Of Roses and Lilies features the solo soprano in the role of The Woman; she expresses her love, devotion, and delight toward her Lover while the Daughters of Jerusalem - as with that of the collective commentary of a Greek chorus - listen and engage with The Woman in her tales touting the glories of her Beloved. The work is in three major sections after the expressive and fluid introduction: the first in A Minor, introducing the characters and their vivd emotions; the second in A Major, during which The Woman shares a tale of her Lover calling her to escape with him into the night... For the winter is past and the rain gone... -when for a moment she hesitates, she wonders if she is too late, only to find that he is still there waiting for her, encouraging her with the sweet words of his continued adoration toward her; the third section returns to the original themes in A Minor, yet gains an expression of great power and fervency as The Woman's love for her Beloved utterly transforms her.
$75.00
69.02 €
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Orchestre à Cordes
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Sarah Wallin Huff
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Of Roses and Lilies
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Novel Soundtrax
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.85 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
While the Snow Lay Sleeping
Chorale 3 parties
Chorus - Digital Download SKU: AX.00-PO-0003356 While the Snow Lay Sleeping - SA…
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Chorus - Digital Download SKU: AX.00-PO-0003356 While the Snow Lay Sleeping - SAB. Composed by Heather Sorenson. Secular Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0003356. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003356). UPC: 038081489629. John Parker.There is a moment of stillness just before snow falls, when the barren earth lies in wait. That point in time is strikingly captured and depicted in this ethereal contemporary choral. An exquisite piano, a soaring cello, and an expressive choir bring the moment to life with both delicate poignancy and cinematic grandeur.Inst. Parts Available (choral).
$1.90
1.75 €
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Chorale 3 parties
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Heather Sorenson
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While the Snow Lay Sleeping
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
While the Snow Lay Sleeping
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0003355 While the Snow Lay Sleeping - SA…
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Chorus - Digital Download SKU: AX.00-PO-0003355 While the Snow Lay Sleeping - SATB. Composed by Heather Sorenson. Secular Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0003355. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003355). UPC: 038081489612. John Parker.There is a moment of stillness just before snow falls, when the barren earth lies in wait. That point in time is strikingly captured and depicted in this ethereal contemporary choral. An exquisite piano, a soaring cello, and an expressive choir bring the moment to life with both delicate poignancy and cinematic grandeur.Inst. Parts Available (choral).
$1.90
1.75 €
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Chorale SATB
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Heather Sorenson
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While the Snow Lay Sleeping
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
While the Snow Lay Sleeping
Chorale 3 parties
Chorus - Digital Download SKU: AX.00-PO-0003357 While the Snow Lay Sleeping - SS…
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Chorus - Digital Download SKU: AX.00-PO-0003357 While the Snow Lay Sleeping - SSA. Composed by Heather Sorenson. Secular Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0003357. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003357). UPC: 038081489636. John Parker.There is a moment of stillness just before snow falls, when the barren earth lies in wait. That point in time is strikingly captured and depicted in this ethereal contemporary choral. An exquisite piano, a soaring cello, and an expressive choir bring the moment to life with both delicate poignancy and cinematic grandeur.Inst. Parts Available (choral).
$1.90
1.75 €
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Chorale 3 parties
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Heather Sorenson
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While the Snow Lay Sleeping
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The Open Road
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1097955 By Heather Pierson. By Heat…
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Piano Solo - Level 3 - Digital Download SKU: A0.1097955 By Heather Pierson. By Heather Pierson. Contemporary,New Age. Score. 8 pages. Sacred Vessel Recordings (ASCAP) #700877. Published by Sacred Vessel Recordings (ASCAP) (A0.1097955). The Open Road is an 8 page intermediate level piece in G mixolydian. It is the title track from my album 'The Open Road', a collection of 14 of my solo piano compositions. From the moment that this piece first appeared in my consciousness, it felt like an invitation to adventure, to meet unexpected twists and turns, and to stay in even, steady motion while doing so. My friend Tim Shellmer’s photo on the cover of The Open Road beautifully embodies this invitation. Other pieces available in this collection are: Bittersweet, Doc Bradley’s Waltz, Edith, Flight of Fancy, Jasper County, Late October, Lullaby, Marble In My Pocket, Prairie Sunset, Skipping Rocks at Shoal Creek, The Storm’s Promise, Sunflowers, and Wheat.
$4.99
4.59 €
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Piano seul
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Heather Pierson
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The Open Road
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Sacred Vessel Recordings
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SheetMusicPlus
8. Intshe the Ostrich
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1138474 By Louise du Toit. By Louis…
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Piano Solo - Level 5 - Digital Download SKU: A0.1138474 By Louise du Toit. By Louise du Toit. Arranged by Louise du Toit. Contemporary. Score. 17 pages. Louise du Toit #738812. Published by Louise du Toit (A0.1138474). Intshe the Ostrich is the eighth in a series of fifteen original contemporary compositions for piano, titled 15 Animal Compositions for Piano and created to musically describe the movement and habits of specific wildlife creatures. From music notes to words: Intshe the old ostrich is in a very good mood. Walking through the South African fields surrounding Oudtshoorn, he comes across a narrow road leading to a desolated farmyard where a lot of delicious junk is waiting to be explored. He sees two ancient metal spoons and swallows it; then he gulps down an empty beer bottle, an old, broken wristwatch and a few shiny metal pieces. On his way back to the fields, he adds two round stones to his collection of strange, edible things. Feeling extremely happy after the gourmet meal, he starts moving around in a very weird way, dancing his heart out until his legs are like jelly. Every now and then he stands still for a few moments, opening and closing his wings to cool down from the heat of the exercise; then he dances again until he collapses of exhaustion, ready to take a very long nap in the hot South African sun. .
$4.99
4.59 €
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Piano seul
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Louise du Toit
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Louise du Toit
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8. Intshe the Ostrich
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Louise du Toit
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SheetMusicPlus
The Blue Dome Of Light
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1257177 Composed by Nichol…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1257177 Composed by Nicholas White. 21st Century,Christmas,Contemporary,Holiday. Octavo. 12 pages. Nicholas White Music #850497. Published by Nicholas White Music (A0.1257177). A vigorous and engaging setting for chorus and organ of Amy Lowell's poem A Winter Ride.Who shall declare the joy of the running!      Who shall tell of the pleasures of flight!     Springing and spurning the tufts of wild heather,      Sweeping, wide-winged, through the blue dome of light.     Everything mortal has moments immortal,      Swift and God-gifted, immeasurably bright.     So with the stretch of the white road before me,      Shining snowcrystals rainbowed by the sun,     Fields that are white, stained with long, cool, blue shadows,      Strong with the strength of my horse as we run.     Joy in the touch of the wind and the sunlight!      Joy!  With the vigorous earth I am one.
$3.00
2.76 €
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Chorale SATB
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Nicholas White
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The Blue Dome Of Light
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Nicholas White Music
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SheetMusicPlus
In This Place (Downloadable)
Chorale SATB
SATB choir, keyboard - Medium - Digital Download SKU: MQ.50-7102-E Composed by Susa…
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SATB choir, keyboard - Medium - Digital Download SKU: MQ.50-7102-E Composed by Susan Borwick. Pentecost, Church Anniversary. 8 pages. MorningStar Music Publishers - Digital Sheet Music #50-7102-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-7102-E). Inspired by the Holy Spirit's infilling of the Church at Pentecost, and by the Reverend Mary Anne Ramsey's words of prophecy centered on Acts II on Pentecost Sunday at Knollwood Church, Winston-Salem, North Carolina, the author-composerhid those words in her heart and wrote the anthem in response in July 2006. The Spirit appears in three forms: as refining heat, as invisible air we take in, and as living rivers of nurturance. The shape of the text grows from the small, intimate sacred moments that the Spirit and we share, to the sweeping transformation of our lives as sustained by the Spirit. The multi-faceted relationship with the Spirit we enjoy carves out the sacred spaces of our lives.
$1.70
1.56 €
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Chorale SATB
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Susan Borwick
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In This Place
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
This Moment In Time
Jazz combo
Jazz Combo - Level 3 - Digital Download SKU: A0.1286463 By Engelbert Humperdinck. B…
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Jazz Combo - Level 3 - Digital Download SKU: A0.1286463 By Engelbert Humperdinck. By Alan Bernstein and Ritchie Adams. Arranged by Nigel Hanley. Contemporary,Jazz,Pop,Standards. 27 pages. Nigel Hanley Music #877519. Published by Nigel Hanley Music (A0.1286463). This chart is an 8 piece cabaret show band arrangement of Englebert Humperdinck's 1978 recording 'This Moment In Time' in the original key of Eb.The instrumentation is:pianoguitarbassdrums---------------------//+ 4 part horn sectiontrumpetalto saxtenor saxtrombone--------------------//The complete mp3 track can be downloaded at  www.nigelhanleymusic.comOther keys and instrumentations are available on request:  info@nigelhanley.comSuitable for: cabaret shows, cabaret bands, talent quests, cruise ship bands, high school & college bands, tribute shows & bands, musical theater productions.* 70s * pop * jazz * cabaret * showbands * swing *.
$29.99
27.6 €
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Jazz combo
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Engelbert Humperdinck
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Nigel Hanley
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This Moment In Time
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Nigel Hanley Music
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SheetMusicPlus
Divinum Mysterium
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.976721 Composed by 12th Century…
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Full Orchestra - Level 4 - Digital Download SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score and parts. 76 pages. WheatMyer Music #4798079. Published by WheatMyer Music (A0.976721). DIVINUM MYSTERIUM is a chant tune dating to the 12th century which is associated with the hymn, Of the Father's Love Begotten, based on the Latin hymn, Corde natus ex parentis, written by Prudentius in the late 4th / early 5th century. This is thus one of the very oldest texts and tunes still sung in our churches today. The shape and flow of this arrangement, which includes quotations from CANTIQUE de NOEL (O Holy Night) – Adolphe Adam (1844), was strongly influenced by what one writer described as the strong wave shapes of the tune. I’ve attempted to make these waves a significant feature of the piece, featured in both the constant crescendo/decrescendos and the interweaving of the two tunes. And, just as ocean waves don’t arrive in steady rhythms, these musical waves are variable – sometimes closely spaced, sometimes not, and sometimes overlapping. The unique character of each of the three major sections is implied in their headings: (1) with mystery and wonder, (2) Joyfully – a child is born, and (3) contemplative – God is with us. The opening section portrays the mystery of the trinity (the hymn text was written as an apology for the Nicene Creed) mixed with the wonder of the Creator God lying in a manger. Since the tune is derived from medieval chant, I wanted this section to reflect the loose metrical nature of that genre, so the melodic phrasing should predominate over any sense of meter up to letter C. The initial tonal and metrical ambiguity and the fractured melodic lines gradually meld into conventional tonality and clear statements of the two main themes. Don’t let the poco rit. just before C be too poco. Build a definite sense of tension in anticipation of the Presto section. The Presto section presents the first complete statement of the main theme. I felt a strong, rhythmic treatment should follow the ambiguity of the opening to reflect the joy of the Messiah’s incarnation realized. However, the gravity of the text demands avoidance of frivolity and banality. Thus, I used a combination of the long, flowing lines with a syncopated pulse and echoing rhythms to produce what I hope is a fresh but still reverent treatment of this ancient hymn – one that produces a kaleidoscope of tonal color. Arriving at the third section at letter F, the asymmetrical pulse gradually shifts into a straight 3 pattern. The slower tempo and return of the secondary theme call us to reflect on the import of God now with us. The marking of Let off the gas and coast to the end is a word picture of how the tempo should draw to a close, as would an expert helmsman allow the ship’s momentum to stop just as it taps the dock. One parting moment is provided to savor the woodwinds closing phrase from CANTIQUE de NOEL. Robert Myers S.D.G. INSTRUMENTATION Fl 1,2; Oboe 1,2; Bb Cl 1,2 ; Bsn 1,2 Hn in F 1/2, 3/4; C Tpt 1,2 (Opt Bb Tpt 1,2); Tbn 1, 2; Tuba Timpani Perc. 1 (cymbals, tam-tam, vibraphone) Perc. 2 (chimes, snare) Perc. 3 (concert toms (4), bass drum) Vln 1,2; Vla 1,2; VC; DB
$75.00
69.02 €
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Orchestre
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12th Century Plainchant
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Robert Myers
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Oboe 1,2
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Divinum Mysterium
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WheatMyer Music
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SheetMusicPlus
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