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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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Finishing Touches
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Finishing Touches
Piano, Guitare (duo)
Guitar,Piano - Level 5 - Digital Download SKU: A0.987362 Composed by Ron Patton. Fi…
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Guitar,Piano - Level 5 - Digital Download SKU: A0.987362 Composed by Ron Patton. Film/TV,Jazz. Score and part. 10 pages. Twintastic Music #3471813. Published by Twintastic Music (A0.987362). Original jazz composition written for piano.
$4.99
4.56 €
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Piano, Guitare (duo)
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Ron Patton
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Finishing Touches
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Twintastic Music
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SheetMusicPlus
Jazz Nocturne
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1414692 Composed by Dana Suesse. Ar…
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Piano Solo - Level 5 - Digital Download SKU: A0.1414692 Composed by Dana Suesse. Arranged by Zellev. 20th Century,Blues,Broadway,Film/TV,Jazz,Musical/Show. Score. 5 pages. Zellev Music #996473. Published by Zellev Music (A0.1414692). Key Signature: Eâ™ majorTime Signature: 4/4Tempo: Moderato misteriosoDifficulty: AdvancedDana Suesse (1911-1987) was an American Composer. She was born in Kansas, Missouri but moved with her mom to New York when she was 15.While in New York, Suesse studied piano under Alexander Siloti, Franz Liszt's last surviving pupil. She studied composition under Rubin Goldmark, one of George Gershwin's teachers, and spent three years studying with Nadia Boulanger after World War II. In 1931, bandleader Paul Whiteman (following Gershwin's Rhapsody in Blue) commissioned her to write Concerto in Three Rhythms.On December 11, 1974, Suesse and her husband produced a symphony concert at Carnegie Hall, devoted exclusively to her compositions. (In the 1990s, Robert Stern produced a CD of the concert using masters from Voice Of America.) On July 31, 1975, the Newport Music Festival (Rhode Island) presented four of her works in their concert series. A year after the Carnegie Hall concert, Suesse and her husband moved to the U.S. Virgin Islands.After her husband's death in 1981, Suesse moved back to New York, the city where she had spent her most creative years. She took two apartments in the Gramercy Park Hotel and continued to write plays and songs for the theatre. Just before her death from a stroke on October 16, 1987, she was writing a new musical, putting the finishing touches on Mr. Sycamore, which had been optioned for off-Broadway, and was looking for a New York home for a straight play, Nemesis.
$8.00
7.31 €
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Piano seul
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Dana Suesse
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Zellev
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Jazz Nocturne
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Zellev Music
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SheetMusicPlus
Edelweiss
Violon et Piano
Piano,Violin - Level 2 - Digital Download SKU: A0.1381980 By Christina Perri. By Os…
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Piano,Violin - Level 2 - Digital Download SKU: A0.1381980 By Christina Perri. By Oscar Hammerstein and Richard Rodgers. Arranged by JoAnn Trujillo and Amy O'Grady. Broadway,Instructional,Musical/Show. 3 pages. Just Right Sheet Music #966604. Published by Just Right Sheet Music (A0.1381980). Formatted in worksheet form so that learners can focus on reading and rhythms, then collaborate with teachers and peers to add dynamics and other finishing touches. Balance between melody and accompaniment inspires teachers, students, and accompanists alike to return to the cantabile or singing tones synonymous with this piece.
$4.99
4.56 €
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Violon et Piano
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Christina Perri
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Edelweiss
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Just Right Sheet Music
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SheetMusicPlus
Glorious
Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-36802 With Glor…
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Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-36802 With Glorious Is Thy Name. Composed by Glorious Is Thy Name: words, Glorious: words, Jesse Reeves, music by B. B. McKinney, and music by Chris Tomlin. Arranged by Thomas Fettke and Thomas Grassi. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. With One Voice Choral Series. Sacred. Part(s). 84 pages. Jubilate Music Group - Digital #00-36802. Published by Jubilate Music Group - Digital (JX.00-36802). English. Glorious: words; music by Chris Tomlin; Jesse Reeves; Glorious Is Thy Name: words; music by B. B. McKinney.Two great hymns by two great hymn writers -- one born in 1886 (B. B. McKinney), the other in 1972 (Chris Tomlin) -- born 86 years apart yet bound together in faith and service. Tom Fettke and Thomas Grassi join the two great songs into one special pulse driven anthem of praise. Michael Lawrence adds the finishing touches with another brilliant orchestration. Different, accessible praise to God Almighty. Related scripture: Psalm 29:1-4; 1 Chronicles 29:13; Psalm 72:19.
$40.00
36.57 €
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Glorious Is Thy Name: words, Glorious: words, Jesse Reeves, music by B
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Choral Octavo
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Glorious
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Jubilate Music Group - Digital
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SheetMusicPlus
Busy Body
Choral Choir (4-Part) - Level 3 - Digital Download SKU: A0.1226525 Composed by Musi…
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Choral Choir (4-Part) - Level 3 - Digital Download SKU: A0.1226525 Composed by Music - Bob Merrill. Lyrics - Brock Lupton. Arranged by Brock Lupton. Jazz,Pop. Octavo. 5 pages. Brock Lupton #822529. Published by Brock Lupton (A0.1226525). I have rewritten and arranged Bob Merrill's 1950 pop hit If I knew you were coming I'd have baked a cake and written totally new lyrics. The result aims to be a few minutes of light-hearted jazzy entertainment. The relaxed sounds, though, hide a few challenges. Singers will need to negotiate the occasional tricky chord progression, as well as having the facility for scat-type vocalization. A gentle touch on the piano and percussion will add the finishing touches. Have fun! Â
$2.00
1.83 €
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Music - Bob Merrill
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Brock Lupton
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Busy Body
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Brock Lupton
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SheetMusicPlus
Schumann: Kinderszenen, Op. 15: 1. Von fremden Ländern und Menschen (as played by Martha Argerich)
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1275386 By Robert Schumann. By Robe…
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Piano Solo - Level 2 - Digital Download SKU: A0.1275386 By Robert Schumann. By Robert Schumann. Arranged by Flavio Regis Cunha. Classical,Contest,Festival,Film/TV,Instructional,Romantic Period. Score. 3 pages. Flavio Regis Cunha #867308. Published by Flavio Regis Cunha (A0.1275386). Welcome to the magic of Schumann’s ‘Kinderszenen, Op. 15: 1. Von fremden Ländern und Menschen (Of Foreign Lands and Peoples)’ as played by the incomparable pianist Martha Argerich.  From the dancing runs to explosive climaxes, shimmering lyrical passages, and breathtakingly elegant nuances, ‘Of Foreign Lands and Peoples’ is one of the most beloved pieces in piano repertoire.  We’re now offering you the opportunity to get your own copy of the sheet music for ‘Of Foreign Lands and Peoples’, complete with detailed notes and fingerings from the inimitable Martha Argerich.  Whether you’re a student of piano wanting to explore the power of repertoire or a professional pianist looking for the finishing touches to your performance, Martha’s sheet music is the perfect selection.  So join us in discovering the hidden beauty, grace, and emotion of Robert Schumann’s ‘Kinderszenen, Op. 15: 1. Von fremden Ländern und Menschen (Of Foreign Lands and Peoples)’ as played by the legendary Martha Argerich.  Get your copy today and take your performance of this amazing piece to the next level.IntermediateFormat: Concert, 9 x 12 inches2 pages.Program NotesKinderszenen, Op. 15: 1. Von fremden Ländern und Menschen (Of Foreign Lands and Peoples) is a romantic piano piece composed by Robert Schumann in 1838. This piece is a part of Schumann's Kinderszenen (Scenes from Childhood) suite. It explores themes of the unfamiliar and a child's curiosity of the world.  Von fremden Ländern und Menschen utilizes a lyrical ABA form set in an ABA ternary meter. The opening melody is soft, nostalgic, and reflective representing the innocence of childhood. The second section begins with a marching-like motif that gradually builds intensity as it progresses, creating feelings of awe and wonder as the music approaches the climax. The piece ends reflecting on the initial melody.  Kinderszenen, Op. 15: 1. Von fremden Ländern und Menschen is an emotionally evocative piece that allows the listener to enter the whimsical world of childhood. The piece’s subtle development makes it a great piece for piano students looking to explore the Romantic era.
$4.99
4.56 €
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Piano seul
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Robert Schumann
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Flavio Regis Cunha
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Schumann: Kinderszenen, Op. 15: 1. Von fremden Ländern und Menschen
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Flavio Regis Cunha
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SheetMusicPlus
Old French Song
Harpe
Composed by Pyotr Ilich Tchaikovsky. Arranged by Luis Anjos Teixeira. Romantic Perio…
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Composed by Pyotr Ilich Tchaikovsky. Arranged by Luis Anjos Teixeira. Romantic Period, Repertoire, Recital. Individual Part, Solo Part. 6 pages. Published by Luis Anjos Teixeira
The Children's Album is dedicated to Tchaikovsky's favorite nephew, Vladimir Davydov. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petya, and that on it is written Dedicated to Volodya Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he's playing, and he might look at the notes, and think that a whole symphony is dedicated to him“.<br> <br> In a letter of 30 April/12 May 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann`s.<br> <br> Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Pyotr Jurgenson that he wanted "to write a number of easy pieces, like Kinderstück“. Evidently, the idea of creating a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start working on my collection of miniatures for children".<br> <br> On 1/13 May the composer wrote to Anatoly Tchaikovsky: "I'm working well and have done rather a lot". On 4/16 May the sketches for all 24 pieces were ready. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May/beginning of June, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolay Kondratyev at Nizy, and in mid/late June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13/25 July.<br> <br> By 20 July/1 August the copying out was completed, and on 21 July/2 August the composer told Nadezhda von Meck that he was working on the Liturgy of Saint John Chrysostom.<br> <br> On 29 July/10 August the manuscript of the Children's Album, along with a number of other compositions, was sent to Pyotr Jurgenson in Moscow. In October, after the proofs had been corrected, the album was published.<br> <br> <br> <br> P.S.- Other than a modest suggestion for an interpretation, this arrangements remain absolute faithful to the original composition. <br> <br> The first version is in the original key of g minor, the second is transposed to „a minor“, the third one is intended for a little lap harp and transposed to d minor. It sounds better in the original key of g minor. I used a lot the d minor version and performed it with my little harp very often, always experiencing a very deep musical feedback.<br> <br> A little nuance was added to the arrangements, thus obliged by its minimal use on the original manuscripts. <br> <br> I included the original long and expressive leggato bows and left out the staccatos for the left hand between the bars 17 and 20. I felt somehow awkward when applying this technic on the harp myself. <br> <br> May be the staccatos suites you best, and you should try it.<br> <br> The score was written on Finale.<br> <br> The sound file was produced with samplers from Garritan, <br> <br> intended as an audio support for the presentation of the score.<br> <br> A reproduction of Tchaikovsky`s original manuscript is added to the file as a reference to the original sources of this composition, it is an extra bonus intentionally didactic and obviously not included in the price of the arrangement itself.<br> <br> Thank you very much for taking your time to read this text and to listen to the file.<br> <br> I hope you enjoy the music.<br> <br> The Children's Album is dedicated to Tchaikovsky's favorite nephew, Vladimir Davydov. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petya, and that on it is written Dedicated to Volodya Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he's playing, and he might look at the notes, and think that a whole symphony is dedicated to him“.<br> <br> In a letter of 30 April/12 May 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann`s.<br> <br> Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Pyotr Jurgenson that he wanted "to write a number of easy pieces, like Kinderstück“. Evidently, the idea of creating a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start working on my collection of miniatures for children".<br> <br> On 1/13 May the composer wrote to Anatoly Tchaikovsky: "I'm working well and have done rather a lot". On 4/16 May the sketches for all 24 pieces were ready. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May/beginning of June, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolay Kondratyev at Nizy, and in mid/late June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13/25 July.<br> <br> By 20 July/1 August the copying out was completed, and on 21 July/2 August the composer told Nadezhda von Meck that he was working on the Liturgy of Saint John Chrysostom.<br> <br> On 29 July/10 August the manuscript of the Children's Album, along with a number of other compositions, was sent to Pyotr Jurgenson in Moscow. In October, after the proofs had been corrected, the album was published.<br> <br> <br> <br> P.S.- Other than a modest suggestion for an interpretation, this arrangements remain absolute faithful to the original composition. <br> <br> The first version is in the original key of g minor, the second is transposed to „a minor“, the third one is intended for a little lap harp and transposed to d minor. It sounds better in the original key of g minor. I used a lot the d minor version and performed it with my little harp very often, always experiencing a very deep musical feedback.<br> <br> A little nuance was added to the arrangements, thus obliged by its minimal use on the original manuscripts. <br> <br> I included the original long and expressive leggato bows and left out the staccatos for the left hand between the bars 17 and 20. I felt somehow awkward when applying this technic on the harp myself. <br> <br> May be the staccatos suites you best, and you should try it.<br> <br> The score was written on Finale.<br> <br> The sound file was produced with samplers from Garritan, <br> <br> intended as an audio support for the presentation of the score.<br> <br> A reproduction of Tchaikovsky`s original manuscript is added to the file as a reference to the original sources of this composition, it is an extra bonus intentionally didactic and obviously not included in the price of the arrangement itself.<br> <br> Thank you very much for taking your time to read this text and to listen to the file.<br> <br> I hope you enjoy the music.<br> <br>
$4.99
4.56 €
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Harpe
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Pyotr Ilich Tchaikovsky
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Luis Anjos Teixeira
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Old French Song
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Luis Anjos Teixeira
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SheetMusicPlus
Nocturne for violin and orchestra
Orchestre, Violon
Violin and orchestra - Digital Download Completed and orchestrated after the sketches…
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Violin and orchestra - Digital Download Completed and orchestrated after the sketches of Debussy by Robert Orledge. Composed by Robert Orledge and Claude Debussy (1862-1918). Arranged by Robert Orledge. This edition: vocal/piano score. Violin Library. Downloadable. Duration 10 minutes. Schott Music - Digital #Q46518. Published by Schott Music - Digital
The Belgian violinist, Eugene Ysaye (1858-1931), with his impressive blend of virtuosity and poetry, was a great admirer of the young Debussy's music who led the Paris premiere of his only string quartet in December 1893. In September 1892, Debussy was planning an American tour with the financial support of Prince Andre Poniatowski that was to include his 'nearly completed three Scenes au crepuscule', inspired by the Symbolist poetry of his friend Henri de Regnier. He made 'extensive revisions' to them in 1893, even if all that seems to have survived is a series of sketches in Bibliotheque Nationale de France, MS 20632(2), most of which appear to be for violin and orchestra in E or B major. Another related, and more virtuosic, theme emerged in a Parisian sale in June 2006, which opens the main part of the present Nocturne (after a slow introduction).<br> <br> We also learn from Ernest Chausson in April 1893 that Debussy was composing a work for Ysaye's first American tour in 1894-95, which at one stage was described as a 'concerto'. Then, as Debussy was putting the finishing touches to L'Apres-midi d'un faune in 1894, he told Ysaye he was now working on 'three Nocturnes for solo violin and orchestra which are destined for you', and which undoubtedly derived from his earlier 'Twilight scenes'. The first was to be 'for strings only'. the second for three flutes, four horns, three trumpets and two harps. the third combines all these instruments'. He also informed Ysaye, perhaps with Whistler's Nocturnes in mind, that they were to be like 'a study in grey in painting'. Debussy only abandoned this project in November 1896 after Ysaye told him he would not be able to premiere the Nocturnes in Brussels 'for financial reasons'.<br> <br> My completion comes closest to the third Nocturne Debussy planned and to being a rondo with related episodes. The dynamic idea that emerged in 2006, which was scored by Debussy, leads naturally into the 'twilight' theme in B major beginning on solo cello and doublebasses, with the high, haunting three-note idea first heard at the outset floating above on solo violin, exactly as Debussy conceived it. All five of Debussy's themes are harmonized and they vary in length between three and thirteen bars: none of them relate to the orchestral Nocturnes of 1897-99. Rather than develop any of these themes, they are presented in changing harmonic backgrounds in the contemporary manner of L'Apres-midi d'un faune, and the whole work centres on an expansive scalar which joins the various aspects of Debussy's 'twilight' themes together in a new perspective.The Belgian violinist, Eugene Ysaye (1858-1931), with his impressive blend of virtuosity and poetry, was a great admirer of the young Debussy's music who led the Paris premiere of his only string quartet in December 1893. In September 1892, Debussy was planning an American tour with the financial support of Prince Andre Poniatowski that was to include his 'nearly completed three Scenes au crepuscule', inspired by the Symbolist poetry of his friend Henri de Regnier. He made 'extensive revisions' to them in 1893, even if all that seems to have survived is a series of sketches in Bibliotheque Nationale de France, MS 20632(2), most of which appear to be for violin and orchestra in E or B major. Another related, and more virtuosic, theme emerged in a Parisian sale in June 2006, which opens the main part of the present Nocturne (after a slow introduction).<br> <br> We also learn from Ernest Chausson in April 1893 that Debussy was composing a work for Ysaye's first American tour in 1894-95, which at one stage was described as a 'concerto'. Then, as Debussy was putting the finishing touches to L'Apres-midi d'un faune in 1894, he told Ysaye he was now working on 'three Nocturnes for solo violin and orchestra which are destined for you', and which undoubtedly derived from his earlier 'Twilight scenes'. The first was to be 'for strings only'. the second for three flutes, four horns, three trumpets and two harps. the third combines all these instruments'. He also informed Ysaye, perhaps with Whistler's Nocturnes in mind, that they were to be like 'a study in grey in painting'. Debussy only abandoned this project in November 1896 after Ysaye told him he would not be able to premiere the Nocturnes in Brussels 'for financial reasons'.<br> <br> My completion comes closest to the third Nocturne Debussy planned and to being a rondo with related episodes. The dynamic idea that emerged in 2006, which was scored by Debussy, leads naturally into the 'twilight' theme in B major beginning on solo cello and doublebasses, with the high, haunting three-note idea first heard at the outset floating above on solo violin, exactly as Debussy conceived it. All five of Debussy's themes are harmonized and they vary in length between three and thirteen bars: none of them relate to the orchestral Nocturnes of 1897-99. Rather than develop any of these themes, they are presented in changing harmonic backgrounds in the contemporary manner of L'Apres-midi d'un faune, and the whole work centres on an expansive scalar which joins the various aspects of Debussy's 'twilight' themes together in a new perspective.
$19.99
18.28 €
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Orchestre, Violon
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Nocturne for violin and orchestra
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Schott Music - Digital
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SheetMusicPlus
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