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Vous avez sélectionné:
NOCTURNE IN FALL
Partitions à imprimer
18 partitions trouvées
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1
Five Piano Nocturnes
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.898711 Composed by Joe Gargiulo. 20…
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Piano Solo - Level 3 - Digital Download SKU: A0.898711 Composed by Joe Gargiulo. 20th Century,Concert,Standards. Score. 15 pages. Joe Gargiulo Music #43563. Published by Joe Gargiulo Music (A0.898711). Five Piano Nocturnes for Intermediate levels by Joe Gargiulo contains 15 pages for $7.95. (See each piece to hear MP3 and view print pages). The book includes: Nocturne in A, Nocturne in Ab, Nocturne in E Minor, Sunset Nocturne and Waterfall Nocturne. .
$7.95
7.32 €
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Piano seul
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Joe Gargiulo
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Five Piano Nocturnes
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Joe Gargiulo Music
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SheetMusicPlus
Nocturne
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1027307 Composed by Katherine E Ben…
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Piano Solo - Level 4 - Digital Download SKU: A0.1027307 Composed by Katherine E Benson. Contemporary. Score. 7 pages. Katherine E Benson #2034565. Published by Katherine E Benson (A0.1027307). Inspired by the movement of waves, Nocturne is like a nighttime sea voyage. The melody rises and falls in its contour, much like waves against a shoreline. The hushed opening with the expressive text …as if submersed reflects the serenity of calm seas, contrasting with the volatile middle section that evokes stormy waters. Written for solo piano, Nocturne ranges in difficulty from intermediate to advanced, paralleling many of Chopin's nocturnes in its lyricism and virtuosic passages.
$3.99
3.67 €
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Piano seul
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Katherine E Benson
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Nocturne
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Katherine E Benson
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SheetMusicPlus
Nocturne
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1027309 Composed by Katherine E Ben…
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Piano Solo - Level 4 - Digital Download SKU: A0.1027309 Composed by Katherine E Benson. Contemporary. Score. 6 pages. Katherine E Benson #4145. Published by Katherine E Benson (A0.1027309). Inspired by the movement of waves, Nocturne is like a nighttime sea voyage. The melody rises and falls in its contour, much like waves against a shoreline. The hushed opening with the expressive text …as if submersed reflects the serenity of calm seas, contrasting with the volatile middle section that evokes stormy waters. Written for solo piano, Nocturne ranges in difficulty from intermediate to advanced, paralleling many of Chopin's nocturnes in its lyricism and virtuosic passages.
$3.99
3.67 €
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Piano seul
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Katherine E Benson
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Nocturne
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Katherine E Benson
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SheetMusicPlus
Regrets Nocturne in D Minor
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1302933 By Donna Mitchell. By Donna…
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Piano Solo - Level 3 - Digital Download SKU: A0.1302933 By Donna Mitchell. By Donna Mitchell. Arranged by Donna Mitchell. Classical,Contemporary,Instructional,Medieval,Romantic Period. Score. 4 pages. Donna Mitchell Studio #892539. Published by Donna Mitchell Studio (A0.1302933). Original work by Donna Mitchell: Intermediate level piano solo in D minor, 3 pages plus color cover which may be optional to print if one only has a black and white printer. This piece offers a lyrical melody and some challenges for right and left hand independence by way of arpeggios and octaves. Truly an expressive piece which would be great for fall setting recials or concerts.
$3.00
2.76 €
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Piano seul
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Donna Mitchell
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Donna Mitchell
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Regrets Nocturne in D Minor
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Donna Mitchell Studio
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SheetMusicPlus
Nightfall
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.965557 Composed by Ron Anderson. Co…
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Piano Solo - Level 5 - Digital Download SKU: A0.965557 Composed by Ron Anderson. Contemporary. Score. 8 pages. Ron James Anderson #5994803. Published by Ron James Anderson (A0.965557). With Nightfall, I wanted to capture the time at night when one is alone with his thoughts. Silences between thoughts can become almost deafening in their volume. In this time of ambiguity between sleep and wakefulness, the mind is allowed to wander into many strange and sometimes frightening regions.Beyond the main motivic material--the minor 6th pattern and various harmonizations of the chromatic scale, I found that I was using combinations of A minor (actually octatonic) and B Lydian as dual tonal centers of this piece. Since it was written for solo piano, I decided to let the compositional process be open-ended; some of what is written here is the result of improvisation, followed by painstaking revision. You may notice a touch of Chopin in the Nocturne sections, although this nocturne is a bit creepier than the Chopin.
$5.00
4.6 €
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Piano seul
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Ron Anderson
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Nightfall
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Ron James Anderson
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SheetMusicPlus
NOCTURNE IN FALL
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.742756 Composed by RAYNARD BLAMPIED…
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Piano Solo - Level 3 - Digital Download SKU: A0.742756 Composed by RAYNARD BLAMPIED. 20th Century,Film/TV,Holiday. Score. 4 pages. Raynard Blampied #350890. Published by Raynard Blampied (A0.742756). Reflective piano piece.
$3.00
2.76 €
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Piano seul
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RAYNARD BLAMPIED
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NOCTURNE IN FALL
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Raynard Blampied
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SheetMusicPlus
Nocturne as eventide falls of Diptych of the love of Dante and Beatrice op. 23
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.936219 Composed by Sally Wave. Conc…
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Piano Solo - Level 4 - Digital Download SKU: A0.936219 Composed by Sally Wave. Concert,Contemporary. Score. 6 pages. Sally Wave #6189159. Published by Sally Wave (A0.936219). The 1st from the Diptych, calm and with nice melody in a romantic style. .
$4.99
4.59 €
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Piano seul
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Sally Wave
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Nocturne as eventide falls of Diptych of the love of Dante and Beatrice op. 23
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Sally Wave
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SheetMusicPlus
Falling in Love
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1234180 By Bo Young Kwon. By Freder…
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Piano Solo - Level 3 - Digital Download SKU: A0.1234180 By Bo Young Kwon. By Frederic Chopin. Arranged by Bo Young Kwon. 19th Century,Classical,Pop,Romantic Period,Wedding. Score. 5 pages. Bo Young Kwon #829713. Published by Bo Young Kwon (A0.1234180). 'Falling in Love' is a combination of two beloved classics from two genres. This arrangement will surely put a smile on everyone who is playing and listening to it. Perfect for playing in any occasions where there is love.This is a fusion arrangement of Chopin's Nocturne Op.9 No.2 and 'Can't Help Falling in Love with You' by Elvis.
$5.99
5.52 €
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Piano seul
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Bo Young Kwon
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Bo Young Kwon
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Falling in Love
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Bo Young Kwon
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SheetMusicPlus
3 Nocturnes
Guitare
Guitar - intermediate to advanced - Digital Download SKU: S9.Q18623 Composed by Enj…
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Guitar - intermediate to advanced - Digital Download SKU: S9.Q18623 Composed by Enjott Schneider. This edition: Sheet music. Guitar Archive. Downloadable. Duration 12 minutes. Schott Music - Digital #Q18623. Published by Schott Music - Digital (S9.Q18623). Nocturnes have a long tradition – from the notturni by Mozart and Haydn via the nocturnes of the Romantic era to Chopin who elevated the genre to fascinating character piece: He created ambivalently shining gems in an unreal world of human nature which were as close to the extremely sublime as to a demonic abyss. Enjott Schneider's '3 Nocturnes', the core of each of which is characterized by a Latin motto, stand in this tradition. Cicero's 'Somnus est imago mortus' sees sleep as a resemblance of death. 'Die Zeit eilt weg, die Liebe aber bleibt' [Time passes but love remains] explores the ambivalence between that what is hurrying and that what stays eternally. Ovid's 'Der Tropfen höhlt den Stein nicht durch Kraft, sondern durch stetes Fallen' [The drop hollows the stone, not by force but by constant dripping] has its counterpart in a minimalist motif which has a lasting influence on the listener through its constant sounding.
$12.99
11.96 €
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Guitare
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Enjott Schneider
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3 Nocturnes
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Schott Music - Digital
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SheetMusicPlus
Late Intermediate Piano Bk 1
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.898697 Composed by Joe Gargiulo. 20…
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Piano Solo - Level 4 - Digital Download SKU: A0.898697 Composed by Joe Gargiulo. 20th Century,Jazz. Score. 22 pages. Joe Gargiulo Music #485459. Published by Joe Gargiulo Music (A0.898697). Best Buy. 6 Late Intermediate Piano works by Joe Gargiulo for $7.95. See individual pieces to hear MP3 and view print pages. Gee Whiz!, Good Humor Man, Minuet in Blue, Sunrise Nocturne, Trauma, Waterfall Nocturne. Great for college level recitals/programs/gigs.
$7.95
7.32 €
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Piano seul
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Joe Gargiulo
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Late Intermediate Piano Bk 1
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Joe Gargiulo Music
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SheetMusicPlus
Claude Debussy: Sérénade for violin and piano
Violon et Piano
Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy…
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Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.
$12.95
11.92 €
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Violon et Piano
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for violin and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude D…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
15.61 €
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Orchestre de chambre
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Two Pieces for Double Bass
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Level 4 - Digital Download SKU: A0.1382790 Composed…
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Double Bass,Piano,String Bass - Level 4 - Digital Download SKU: A0.1382790 Composed by Juliette Marie Olga (Lili) Boulanger. Arranged by Graham Boag. 20th Century,Chamber,Classical. Score and part. 15 pages. Graham Boag #967218. Published by Graham Boag (A0.1382790). Originally composed for Violin and Piano I have transcribed and arranged these for Double Bass in Orchestral tuning aiming them towards the advanced intermediate/advanced student. Lili Boulanger was the sister of the famous teacher Nadia Boulanger who taught Aaron Copland, Elliott Carter and Philip Glass amongst others. She was a composer for the last 10 years of her tragically short life – she died at 25. Her music was highly influenced by Faure and Debussy. The Nocturne begins sparsely, with bare octave figures wound about with a theme built from a repetitive rise-and-fall figure. As the texture becomes thicker the violin becomes more virtuosic and begins to climb. There is no harmonic resolution until the final ppp note in the top register, which is answered by a low octave from the piano. The Cortege is more lively without being fast. Shifting rhythmic accents, tricky runs and contrasting dynamics make this an exciting piece.
$14.99
13.8 €
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Contrebasse, Piano (duo)
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Juliette Marie Olga
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Graham Boag
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Two Pieces for Double Bass
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Graham Boag
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestre
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.02 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestre
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
23.02 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestre
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.02 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
PIANO PUR
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Rainer Fabich. 21st Century,…
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Piano Solo - Intermediate - Digital Download Composed by Rainer Fabich. 21st Century, Romantic Period, Contemporary Classical, Impressionistic, Post-Romantic. Individual Part, Score. 80 pages. Published by Fajora Music
Orginal scores from the Rainer Fabich`s CD PIANO PUR played by Michaela Puehn.<br> Piano solo, 80 pages.<br> <br> About the music:<br> In Piano Scenes musical associations are reflected, strung together in a loose sequence of imaginary pictures, such as Water Visions, Waves, Fallen Angel. Images of abstract, musical style (Gradus Ad Parnassum and Homage To Satie) refer in an idealistic way to musical precursors of piano literature.<br> In the very emotional Four Nocturnes there are both exuberant and flirtatious moments, such as the night walk of a lady (Promenade D `une Dame) and Valse Pour ... Thoughtful and sometimes brooding moods sound in Songes De La Nuit (Night Thoughts ) and Une Illusion.<br> The sonic world of Latin America appears in the Imprésiones Latinas. Short snapshots characterize the typical, playful pride and charm of female sex in Cuba (Habañera) or they evoke the untamed vitality of Brazil (Impresión Brasiliana).<br> In addition to the new compositions for piano, the music edition also includes a commissioned composition for Bavarian Television, Piano Reflections and excerpts from a film score for the short film Queen of the Night (directed by Hans Lang, HFF 1996, actors and others by Juliane Köhler). In the dance of puppets, Mozart's famous aria sounds like something from the distant world, slightly alienated.<br> All pieces of the CD Rainer Fabich - Piano Pur, were recorded on a Steinway grand piano (D) in 2005 by the Munich concert pianist Prof. Michaela Puehn in the Great Concert Hall of the Academy of Music and Theater, Munich. Recording, editing and mastering: Prof. Ulrich Kraus. The notes for the film music of the CD, Memoirs of a Frustrated Hedonist (ISBN: 9783737578295) have been published in an extra volume.<br> The first live premiere and American premiere of the two pieces Bulgarian Dance / Bulgarian Dance and Homage to Satie took place in 2018 (The National Opera Center, New York) by Tania Stavreva (piano).<br> Szenen für Klavier / Scenes for piano<br> <br> 01 Opener 1:18 
02 Visionen im Wasser – Water visions 2:33<br> 03 Wellen – Waves 2:43<br> 04 Fallen Angel 2:36 <br> 05 Gradus ad parnassum 2:09 <br> 06 Wiegenlied – Lullaby 2:41<br> 07 Bulgarischer Tanz – Bulgarian dance 2:02 <br> 08 Hommage an Satie – Hommage to Satie 2:31 <br> 09 Just an affair 4:33<br> <br> Vier Nocturnes / Four Nocturnes<br> <br> 10 Songes de la nuit – Night muses 2:18<br> 11 Valse pour … – Waltz for … 2:37<br> 12 Une illusion- An illusion 2:25<br> 13 Promenade d’une dame – Promenade of a lady 3:38<br> <br> Impresiónes latinas<br> <br> 14 Habanera 2:04<br> 15 Canción triste – Melancholic song 1:28<br> 16 Impresión brasiliana - Brasilian impression 2:23<br> <br> Filmmusik “König der Nacht” / Filmmusic “Queen of the night”<br> <br> 17 Tanz der Marionetten – Dance of the marionettes (Piano) 2:06<br> 18 Tanz der Marionetten – Dance of the marionettes (Celesta) 2:00<br> <br> Piano Pur<br> <br> 19 Piano reflections 3:16
$29.95
27.58 €
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Piano seul
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Rainer Fabich
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PIANO PUR
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Fajora Music
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SheetMusicPlus
Martn Cullar: Nocturne (Nightfall in Tossa de Mar) - piano solo
Piano seul
Instantly printable sheet music by Martn Cullar for piano solo of MEDIUM skill level. /
Instantly printable sheet music by Martn Cullar for piano solo of MEDIUM skill level. /
$6.48
5.97 €
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Piano seul
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Martn Cullar
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