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25
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23
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23
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23
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22
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20
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20
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16
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13
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12
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11
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11
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10
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8
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6
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6
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5
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4
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26
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24
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22
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18
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16
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15
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14
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13
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11
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10
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10
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7
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4
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28
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21
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18
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16
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15
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11
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10
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8
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7
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7
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6
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6
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6
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4
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Orchestre d'harmonie
128
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109
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85
Fanfare
73
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28
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19
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17
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12
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10
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6
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Marimba
2
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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…
(+)
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
35.55 €
#
Piano seul
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
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…
(+)
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
35.55 €
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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
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SheetMusicPlus
With High Delight: Organ Music for Easter
The title of this collection says it all. These seven settings are imbued with a sense of …
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The title of this collection says it all. These seven settings are imbued with a sense of fun and vitality. The pieces are three to five pages in length. The vibrant, active nature of them precludes sight reading them in public (who does that?) but they are not daunting to learn. Contents: Awake, My Heart, with Gladness Christ Is Alive! Let Christians Sing Come, You Faithful, Raise the Strain I Know That My Redeemer Lives Now the Green Blade Rises This Joyful Eastertide With High Delight
Song List: Auf, auf, mein Herz Duke Street Gaudeamus Pariter (Ave Virgo Virginum) Mit Freuden Zart (Bohemian Brethren) Noel Nouvelet Truro Vruechten
Song List
: Auf, auf, mein Herz Duke Street Gaudeamus Pariter (Ave Virgo Virginum) Mit Freuden Zart (Bohemian Brethren) Noel Nouvelet Truro Vruechten
$19.00
17.34 €
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With High Delight: Organ Music for Easter
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SheetMusicPlus
Flute Quartet sheet music: Os Pintinhos no Terreiro (score & parts)
Quatuor de Flûtes : 4 flûtes
Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509399
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Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509399 By Francesco Leone. By Zequinha de Abreu. Arranged by Francesco Leone. Latin. 24 pages. Glissato Edizioni Musicali #1084638. Published by Glissato Edizioni Musicali (A0.1509399). Experience the whimsical beauty of Brazilian Chorinho with Os Pintinhos no Terreiro (The Chicks in the Yard), a captivating piece by the renowned Zequinha de Abreu. This charming composition has been thoughtfully arranged for Flute Quartet (s.s.s.b.), tailored to suit intermediate level players. The arrangement not only brings to life the playful and joyous essence of the original work but also provides an engaging challenge that will delight and inspire musicians.This comprehensive ebook package includes the full score and a complete set of parts for four flutes, designed to facilitate a seamless ensemble performance. Each part has been meticulously prepared to ensure that players can fully immerse themselves in the nuances of Chorinho music, while also contributing to a cohesive and harmonious group sound.What sets this arrangement apart is the inclusion of additional resources that enrich the player's understanding and appreciation of the piece. These resources are available in multiple languages, including English, French, German, Spanish, Italian, and Portuguese, making this arrangement not only a musical journey but also an educational one. Through these materials, musicians can explore the cultural context of Os Pintinhos no Terreiro, delve into the life and legacy of Zequinha de Abreu, and gain insights into the stylistic elements that define Chorinho.Whether you're performing in a concert, participating in a workshop, or simply enjoying the music with friends, this arrangement of Os Pintinhos no Terreiro for Flute Quartet offers a unique opportunity to connect with the rich musical heritage of Brazil. Let the lively rhythms and melodious tunes transport you and your audience to the vibrant streets of Brazil, where the spirit of Chorinho fills the air.- Querflöten-Noten, partitions pour flûte, partituras para flauta, partituras para flauta, spartiti per flauto, flüt notaları, nuty na flet, noter for fløyte, noter för flöjt -.
$13.00
11.86 €
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Quatuor de Flûtes : 4 flûtes
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Francesco Leone
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Francesco Leone
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Flute Quartet sheet music: Os Pintinhos no Terreiro
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Glissato Edizioni Musicali
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SheetMusicPlus
Let Us Live as Friends
Chorale Unison
Unison/2-part choir, Piano (With Optional Accompaniment MP3) - Digital Download SKU: LX…
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Unison/2-part choir, Piano (With Optional Accompaniment MP3) - Digital Download SKU: LX.15-3995H Composed by Stan Pethel. Educational, Concert, General. Octavo. 8 pages. Heritage Music Press - Digital #e15/3995H. Published by Heritage Music Press - Digital (LX.15-3995H). Let Us Live as Friends is a tender song for young choirs that celebrates friendships and the differences between us. This piece can be performed as two-part or simply in unison.
$2.40
2.19 €
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Chorale Unison
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Stan Pethel
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Let Us Live as Friends
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Heritage Music Press - Digital
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SheetMusicPlus
Let Us Live as Friends - Downloadable Accompaniment MP3
Digital Download SKU: LX.99-4680H Composed by Stan Pethel. Educational, Concert. Ac…
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Digital Download SKU: LX.99-4680H Composed by Stan Pethel. Educational, Concert. Accompaniment MP3. Heritage Music Press - Digital #e99/4680H. Published by Heritage Music Press - Digital (LX.99-4680H).
$14.95
13.64 €
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Stan Pethel
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Let Us Live as Friends - Downloadable Accompaniment MP3
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Heritage Music Press - Digital
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SheetMusicPlus
James Bond Returns: Mallets
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0016059_M1 Mallets. Arranged b…
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Concert Band - Digital Download SKU: AX.00-PC-0016059_M1 Mallets. Arranged by Ken Dye. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016059_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016059_M1). ISBN 9780757933073. UPC: 029156178999.He's the ultimate secret agent, and even when portrayed on the big screen by an array of actors, the character is always supremely believable. This hero of heroes is musically represented by these blockbuster titles: The James Bond Theme * Goldfinger * From Russia With Love * Live and Let Die * You Only Live Twice.
$3.00
2.74 €
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Orchestre d'harmonie
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Ken Dye
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James Bond Returns: Mallets
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
James Bond Medley: Mallets
Orchestre
Full Orchestra - Digital Download SKU: AX.00-PC-0015659_M1 Mallets. Composed…
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Full Orchestra - Digital Download SKU: AX.00-PC-0015659_M1 Mallets. Composed by Monty Norman. Arranged by Victor Lopez. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0015659_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015659_M1). UPC: 038081280899.In his James Bond Medley arrangement, Victor LA3pez shows that the 007 agent is alive and well. The medley features five classic hits, the James Bond Theme, For Your Eyes Only, Goldfinger, Live and Let Die, and No Body Does It Better. Although this arrangement is written for intermediate full orchestra, it has been scored in such a way that it will also sound as effective with strings only. Careful considerations have been given to tonality and rhythmical issues as related to the strings. Bowings have also been included to facilitate playability. For more additional flexibility, solo parts have been cued throughout. With solid scoring, adequate ranges and classic selections, this James Bond Medley is a sure winner! (9:23).
$3.00
2.74 €
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Orchestre
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Monty Norman
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Victor Lopez
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James Bond Medley: Mallets
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
So Let Us Live - Really Live! for baritone and piano
Voix Baryton, Piano
Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.987855 Compo…
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Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.987855 Composed by Robert M. Greenberg. 20th Century,Contemporary. 26 pages. Robert M. Greenberg #115411. Published by Robert M. Greenberg (A0.987855). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 11 minutes Year of composition: 2009 Program Note: I. When I Was One-and-Twenty (A. E. Housman) II. For An Amorous Lady (Theodore Roethke) III. Love Me Not for Comely Grace (John Wilbye) IV. So Let Us Live - Really Live! (Gaius Valerius Catullus) The four love songs that that constitute So Let Us Live – Really Live! were commissioned by John Goodman in honor of his wife Kerry King’s fiftieth birthday. The set – with its (relatively) light poetry and (excessively) tonal settings - was originally intended as Hausmusik (house music), music to be performed privately among (semi-inebriated) friends. However, certain personal events that occurred during their composition have compelled me to go public with them, and thus, with John and Kerry’s indulgence, they are receiving their premiere here, rather than in a living room. A thousand-and-one thanks to Allen Shearer’s wonderful voice and Lino Rivera’s exquisite hands, which were constantly in my mind’s ear during the composition of the songs. With love to Kerry, from John and Bob. All poems used by permission.
$28.00
25.55 €
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Voix Baryton, Piano
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Robert M
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So Let Us Live - Really Live! for baritone and piano
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Robert M. Greenberg
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SheetMusicPlus
Live And Let Die
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1284109 By Wings. By Linda McCa…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1284109 By Wings. By Linda McCartney and Paul McCartney. Arranged by Kevin Riley. 20th Century,Film/TV,Pop. Score and Parts. 60 pages. Kevin Riley #875342. Published by Kevin Riley (A0.1284109). Live and Let Die is the theme song of the 1973 James Bond film of the same name, performed by the British–American rock band Wings. Written by English musician Paul McCartney and his wife Linda McCartney, it reunited McCartney with former Beatlesproducer George Martin, who produced the song and arranged the orchestra. McCartney was contacted to write the song by the film's producers Harry Saltzman and Albert R. Broccoli before the screenplay was finished. Wings recorded Live and Let Die during the sessions for Red Rose Speedway in October 1972 at AIR Studios. It was also the first rock song to open a Bond film. Another version by B. J. Arnau also appears in the film.Upon release, Live and Let Die was the most successful Bond theme up to that point, reaching No. 1 on two of the three major US charts (though it only reached No. 2 on the Billboard Hot 100) and No. 9 on the UK Singles Chart. The song also received positive reviews from music critics and continues to be praised as one of McCartney's best songs. It became the first Bond theme song to be nominated for the Academy Award for Best Original Song, but ultimately lost the award to Barbra Streisand's The Way We Were. It won the Best Arrangement Accompanying Vocalist(s) at the 16th Annual Grammy Awardsin 1974.Wings performed Live and Let Die live during their concert tours and McCartney continues to play it on his solo tours, often using pyrotechnics during the instrumental breaks. It has been covered by several bands, including Guns N' Roses, whose version appears on their 1991 album Use Your Illusion I. One of the more popular covers of the song, their version was nominated for the Grammy Award for Best Hard Rock Performanceat the 35th Annual Grammy Awards in 1993. In 2012, McCartney was awarded the Million-Air Award from Broadcast Music, Inc. (BMI), for more than 4 million performances of the song in the US.
$70.00
63.89 €
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Orchestre
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Wings
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Kevin Riley
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Live And Let Die
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Kevin Riley
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SheetMusicPlus
Live And Let Die
Ensemble de cuivres
Brass Choir or Ensemble, Drum Set, Brass Band - Early Intermediate - Digital Downloa…
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Brass Choir or Ensemble, Drum Set, Brass Band - Early Intermediate - Digital Download By Paul McCartney & Wings. Arranged by K Davies. Score, Set of Parts. 34 pages. Published by Bandmusic.co.uk
A great arrangement for Brass Band of this McCartney song used as theme music for the 1973 James Bond film of the same name.A great arrangement for Brass Band of this McCartney song used as theme music for the 1973 James Bond film of the same name.
$45.00
41.07 €
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Ensemble de cuivres
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Paul McCartney & Wings
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K Davies
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Wings
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Live And Let Die
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Bandmusic.co.uk
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SheetMusicPlus
Let Us Live to His Glory—Medium-Range Vocal Solo and Piano
Mezzo-Soprano Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1050814 By Dani…
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Mezzo-Soprano Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1050814 By Daniel Carter. By Daniel Carter. Arranged by Daniel Carter. Contemporary,Pop,Praise & Worship,Sacred. 6 pages. Daniel Carter #655139. Published by Daniel Carter (A0.1050814). Let us live to His glory. Let us love with his heart. Let us live with his glory, Let us have a brand new start. Toni Sorensen's words are a call for us to leave our cares, worries, and burdens at His feet and to shine with His glory. For medium-range solo voice and piano, suitable for worship, devotionals, and many other gatherings. Available also for High Solo Voice, Chorus, and Piano at danielcartermusic.com.
$4.99
4.55 €
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Daniel Carter
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Daniel Carter
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Let Us Live to His Glory—Medium-Range Vocal Solo and Piano
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Daniel Carter
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SheetMusicPlus
Let It Shine!
Chorale 3 parties
3-part mixed choir, Piano - Digital Download Composed by Mary Lynn Lightfoot. Educati…
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3-part mixed choir, Piano - Digital Download Composed by Mary Lynn Lightfoot. Educational, Concert, Festival. Octavo. 12 pages. Heritage Music Press #15/3063H. Published by Heritage Music Press
ISBN 9781429136433.<br> <br> Add some sparkle and zest to your next concert or festival with this lively pairing of two spiritual favorites. This gem for developing choirs abounds with playful and engaging interplay between parts.ISBN 9781429136433.<br> <br> Add some sparkle and zest to your next concert or festival with this lively pairing of two spiritual favorites. This gem for developing choirs abounds with playful and engaging interplay between parts.
$2.50
2.28 €
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Chorale 3 parties
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Mary Lynn Lightfoot
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Let It Shine!
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Heritage Music Press
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SheetMusicPlus
Die Another Day / Live and Let Die / James Bond Theme: Mallets
Fanfare
Marching Band - Digital Download SKU: AX.00-PC-0018320_M1 Instructional. 1 pages. A…
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Marching Band - Digital Download SKU: AX.00-PC-0018320_M1 Instructional. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0018320_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018320_M1). UPC: 038081458656.
$3.00
2.74 €
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Fanfare
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Die Another Day / Live and Let Die / James Bond Theme: Mallets
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Let It Be
Trombone
Tenor Trombone,Trombone Solo - Level 1 - Digital Download SKU: A0.1328346 By Kris A…
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Tenor Trombone,Trombone Solo - Level 1 - Digital Download SKU: A0.1328346 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. Individual part. 1 pages. M das Melodias #916342. Published by M das Melodias (A0.1328346). Sheet Music for Trombone.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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Trombone
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
Trompette
B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.1328347 By Kris Allen. By …
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B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.1328347 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. Individual part. 1 pages. M das Melodias #916343. Published by M das Melodias (A0.1328347). Sheet Music for Trumpet in Bb.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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Trompette
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
Trompette, Piano
Piano,Trumpet in D - Level 1 - Digital Download SKU: A0.1328350 By Kris Allen. By J…
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Piano,Trumpet in D - Level 1 - Digital Download SKU: A0.1328350 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. Score and part. 1 pages. M das Melodias #916346. Published by M das Melodias (A0.1328350). Sheet Music for Trumpet in D.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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Trompette, Piano
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
Flûte traversière et Piano
Piano,Soprano Flute - Level 1 - Digital Download SKU: A0.1328360 By Kris Allen. By …
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Piano,Soprano Flute - Level 1 - Digital Download SKU: A0.1328360 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. Score and part. 1 pages. M das Melodias #916356. Published by M das Melodias (A0.1328360). Sheet Music for Flute and Piano.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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Flûte traversière et Piano
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
Trompette, Piano
Piano,Trumpet - Level 1 - Digital Download SKU: A0.1328349 By Kris Allen. By John L…
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Piano,Trumpet - Level 1 - Digital Download SKU: A0.1328349 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. Score and part. 1 pages. M das Melodias #916345. Published by M das Melodias (A0.1328349). Sheet Music for Trumpet in C.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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Trompette, Piano
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
Alto, Piano
Piano,Viola - Level 1 - Digital Download SKU: A0.1328353 By Kris Allen. By John Len…
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Piano,Viola - Level 1 - Digital Download SKU: A0.1328353 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. Score and part. 1 pages. M das Melodias #916349. Published by M das Melodias (A0.1328353). Sheet Music for Viola.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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Alto, Piano
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
2 Flûtes traversières (duo)
Flute Duet Flute - Level 1 - Digital Download SKU: A0.1328338 By Kris Allen. By Joh…
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Flute Duet Flute - Level 1 - Digital Download SKU: A0.1328338 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. Score. 4 pages. M das Melodias #916332. Published by M das Melodias (A0.1328338). Sheet Music for Flute duo.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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2 Flûtes traversières (duo)
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
2 Clarinettes (duo)
Clarinet Duet Clarinet - Level 1 - Digital Download SKU: A0.1328335 By Kris Allen. …
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Clarinet Duet Clarinet - Level 1 - Digital Download SKU: A0.1328335 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. 2 scores. 4 pages. M das Melodias #916329. Published by M das Melodias (A0.1328335). Sheet Music for Clarinet in Bb Duo.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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2 Clarinettes (duo)
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
2 Clarinettes (duo)
Clarinet Duet A Clarinet - Level 1 - Digital Download SKU: A0.1328333 By Kris Allen…
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Clarinet Duet A Clarinet - Level 1 - Digital Download SKU: A0.1328333 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. 2 scores. 4 pages. M das Melodias #916327. Published by M das Melodias (A0.1328333). Sheet Music for Clarinet in A Duo.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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2 Clarinettes (duo)
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
2 Violons (duo)
Violin Duet Violin - Level 1 - Digital Download SKU: A0.1328341 By Kris Allen. By J…
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Violin Duet Violin - Level 1 - Digital Download SKU: A0.1328341 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. 4 pages. M das Melodias #916335. Published by M das Melodias (A0.1328341). Sheet Music for String duet.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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2 Violons (duo)
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
Let It Be
2 Saxophones (duo)
Alto Saxophone Duet Alto Saxophone - Level 1 - Digital Download SKU: A0.1328328 By …
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Alto Saxophone Duet Alto Saxophone - Level 1 - Digital Download SKU: A0.1328328 By Kris Allen. By John Lennon and Paul McCartney. Arranged by Josiel Oliveira. Multicultural,Pop,World. 2 scores. 4 pages. M das Melodias #916321. Published by M das Melodias (A0.1328328). Sheet Music for Saxophone Duet.#LetItBe#TheBeatles#PaulMcCartney#BeatlesLetItBe#BeatlesClassic#BeatlesHope#BeatlesAcceptance#BeatlesPeace#LetItBeLyrics#LetItBeMusic#LetItBeVideo#LetItBeCovers#LetItBeMeaning#LetItBeInfluence#LetItBeLegacy.
$4.99
4.55 €
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2 Saxophones (duo)
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Kris Allen
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Josiel Oliveira
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Let It Be
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M das Melodias
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SheetMusicPlus
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