Page d'accueil
Parcourir Free-scores.com
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Suite de Salón
Sheetmusicplus
Non classifié
2
Piano & claviers
Piano seul
1
Guitares
Guitare
3
Ensemble de guitares
1
Voix
Vents
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Cordes
Harpe
2
Orchestre & Percussions
Orchestre
3
Ensemble de cuivres
1
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Annuaire Web
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
101
Partitions Numériques
16
Librairie Musicale
0
Matériel de Musique
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Suite de Salón
SheetMusicPlus
Partitions à imprimer
16 partitions trouvées
<
1
Suite de Salón
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Manuel R
#
Suite de Salón
#
Manuel R. Salas
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1023617 Composed by Manuel R. Salas. Contemporary,Standards. Individual part. 11 pages. Manuel R. Salas #6189823. Publis...
(+)
Solo Guitar - Level 4 - SKU: A0.1023617 Composed by Manuel R. Salas. Contemporary,Standards. Individual part. 11 pages. Manuel R. Salas #6189823. Published by Manuel R. Salas (A0.1023617). Suite en cuatro movimientos. Homenaje a Tárrega.
$10.00
AMADEUS suite - 4. Symphony n. 25 K 183
#
Quatuor de Cuivres : 2 trompettes, trombone, tuba
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Wolfgang Amadeus Mozart
#
Alessandro Macrì
#
AMADEUS suite - 4. Symphony n.
#
Music Macri Editions
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.931211 Composed by Wolfgang Amadeus Mozart. Arranged by Alessandro Macrì. Classical,Con...
(+)
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.931211 Composed by Wolfgang Amadeus Mozart. Arranged by Alessandro Macrì. Classical,Concert,Graduation. Score and parts. 18 pages. Music Macri Editions #3685213. Published by Music Macri Editions (A0.931211). La Sinfonia n. 25 in Sol minore K 183, chiamata anche la Piccola sinfonia in Sol minore, è una sinfonia di Wolfgang Amadeus Mozart, composta a Salisburgo nell'ottobre 1773, poco tempo dopo aver terminato l'opera seria Lucio Silla.L'apertura a razzo di Mannheim (un passaggio melodico rapidamente ascendente che tipicamente ha una linea crescente arpeggiata) è stata citata da Beethoven nella sua prima sonata per pianoforte, come soggetto principale del primo movimento. L'Allegro con brio sostituisce l'Allegro spiritoso delle precedenti sinfonie. Si inizia con un ritmo sincopato caratterizzato da un tema breve ripetuto più volte ed infine ripreso dall'oboe in forma malinconica e delicata. In tutto il movimento il ritmo rimane serrato.Con le sue linee melodiche ad ampi balzi e i suoi vivaci soggetti musicali, questa sinfonia è caratteristica dello stile Sturm und Drang. Essa condivide alcune caratteristiche con altre sinfonie Sturm und Drang di questa epoca, ed è probabilmente ispirata dalla Sinfonia n. 39 di Joseph Haydn, anch'essa in Sol minore.
$9.00
AMADEUS suite - 1. Symphony n. 29
#
Ensemble de cuivres
#
FACILE
#
Classique
#
Wolfgang Amadeus Mozart
#
Alessandro Macrì
#
di
#
AMADEUS suite - 1. Symphony n.
#
Music Macri Editions
#
SheetMusicPlus
Brass Ensemble - Level 2 - SKU: A0.931209 Composed by Wolfgang Amadeus Mozart. Arranged by Alessandro Macrì. Classical,Concert,Graduation. Score and ...
(+)
Brass Ensemble - Level 2 - SKU: A0.931209 Composed by Wolfgang Amadeus Mozart. Arranged by Alessandro Macrì. Classical,Concert,Graduation. Score and parts. 18 pages. Music Macri Editions #3563447. Published by Music Macri Editions (A0.931209). La Sinfonia n. 29 in La Maggiore K 201 di Wolfgang Amadeus Mozart fu completata a Salisburgo il 6 aprile 1774. Insieme alla n. 25 (scritta pochi mesi prima) verso le sue più famose sinfonie giovanili. Il musicologo Stanley Sadie la considera una pietra miliare, personale nel tono e ancor più nella sua combinazione di musica da camera con una tempra ardente e impulsiva. Questa composizione fa parte dei temi del film Amadeus sulla vita del compositore.
$9.00
El Chusalongo y el Patachuga
#
Leonardo Mendoza S
#
Leonardo Mendoza S
#
El Chusalongo y el Patachuga
#
Leonardo Mendoza S.
#
SheetMusicPlus
String Trio Cello,Double Bass,Violin - Level 3 - SKU: A0.1128702 By Leonardo Mendoza S. By Leonardo Mendoza S. Arranged by Leonardo Mendoza S. Chamber,C...
(+)
String Trio Cello,Double Bass,Violin - Level 3 - SKU: A0.1128702 By Leonardo Mendoza S. By Leonardo Mendoza S. Arranged by Leonardo Mendoza S. Chamber,Classical,Contemporary,Multicultural,World. 7 pages. Leonardo Mendoza S. #729263. Published by Leonardo Mendoza S. (A0.1128702). El Chusalongo y el Patachuga, es una obra original para piano solo, es una suite de 5 movimientos, pero que esta ocasión hice un arreglo del tercer movimiento para un trÃo de cuerdas (ViolÃn, Cello & Contrabajo)... La obra es de tempo lento usando algunas escalas pentatónicas en combinación acordes menores sobretodo...
$10.00
Jules Massenet EXOTISME FIN DE SIECLE music from his operas - Lever Harp
#
Harpe
#
INTERMÉDIAIRE/AVANCÉ
#
Opera
#
Classique
#
Jules Massenet
#
Alessandro Palazzani
#
Jules Massenet EXOTISME FIN DE
#
A work by Alessandro Palazzani
#
SheetMusicPlus
Lever Harp - Level 4 - SKU: A0.1221810 Composed by Jules Massenet. Arranged by Alessandro Palazzani. 19th Century,Bollywood,Classical,Opera,Romantic Per...
(+)
Lever Harp - Level 4 - SKU: A0.1221810 Composed by Jules Massenet. Arranged by Alessandro Palazzani. 19th Century,Bollywood,Classical,Opera,Romantic Period. Score. 79 pages. A work by Alessandro Palazzani #818100. Published by A work by Alessandro Palazzani (A0.1221810). CONTENTSThaïsNocturne et MeditationLe Roi de LahoreLe Paradis d’Indra1 - Pantomime2 – DanseLe MageTrois pièces en suite: Lamentation – Invocation – La Montaigne SainteCléopâtre suite de 4 piècesPrélude Act 4: La Mort des AmantsCortège des Esclaves EgyptiennesDanse des ChaldéennesLe Marriage Romain: Chant d’HyménéeHerodiade - Trois PiecesAube sur JérusalemDanse sacréeJean le Baptiste et Salomé.
$22.00
Russian Dance ("Trepak") (from "The Nutcracker Suite") (F) (Brass Octet - 4 Trp, 1 Hrn, 2 Trb, 1 Tub
#
Quatuor de Cuivres : 2 trompettes, trombone, tuba
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Peter Ilyich Tchaikovsky
#
Regis Bookshar
#
Russian Dance
#
Regis Bookshar
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.813919 Composed by Peter Ilyich Tchaikovsky. Arranged by Regis Bookshar. Christmas,Instruc...
(+)
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.813919 Composed by Peter Ilyich Tchaikovsky. Arranged by Regis Bookshar. Christmas,Instructional,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6615131. Published by Regis Bookshar (A0.813919). Brass Octet - Advanced/Intermediate - . This marvelous arrangement of the Russian Dance from Peter Ilyich Tchaikovsky's extremely popular, The Nutcracker Suite, would be a fabulous addition to any music library and could be performed for concerts and recitals but would be most appropriate during the Holiday season. This selection has been arranged to keep all of the intensity and excitement of the original composition and is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (15 pages). This selection is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.The Nutcracker is an 1892 two-act ballet with a score by Peter Ilyich Tchaikovsky. It has enjoyed enormous popularity since the late 1960's and is performed by countless ballet companies, primarily during the Christmas season, especially in North America. Tchaikovsky's score has become one of his most famous compositions. Some critics have called it astonishingly rich in detailed inspiration and from beginning to end, beautiful, melodious, original and characteristic. The ballet's first complete performance outside Russia took place in England in 1934. The first complete United States performance was on December 24, 1944, by the San Francisco Ballet. It was such an enormous success that the San Francisco Ballet has presented The Nutcracker every Christmas Eve and throughout the winter season, debuting new productions in 1944, 1954, 1967 and 2004. In Salt Lake City, it has been performed every year since 1963. The New York City Ballet gave its first annual performance in 1954. In addition to annual live stagings of the work, many productions have also been televised or released on home video.The Nutcracker continues to be one of Tchaikovsky's most popular compositions and contains some of his most memorable works. Tchaikovsky made a selection of eight of the numbers from the ballet before the ballet's December 1892 premiere, forming The Nutcracker Suite, Op. 71a, and is intended for concert performance. The suite was first performed, under the composer's direction, on March 19, 1892. The suite became instantly popular with almost every number encored at its premiere.Regis Bookshar thought that it would be wonderful if other instrumentalists could also have the opportunity to play some of these wonderful compositions, originally scored for a full orchestra, and has arranged two of the selections, the popular March and the Russian Dance, one of the character dances, based on the Russian and Ukrainian folk dance, Trepak, for a wide variety of instrumental ensembles. So, in addition to this version of the Russian Dance, for a Brass Octet, consisting of 4 Trumpets, 1 French Horn, 2 Trombones and 1 Tuba, he has made quite a few other arrangements of this selection for various Quintets and Octets and are readily available. If you should decide to purchase this arrangement of the Russian Dance, I would highly encourage you to also consider purchasing the arrangement of the March as well. Scheduling the March followed by the Russian Dance would be a very satisfying addition to any concert or recital. Please take the time to look for other versions of these compositions. You may find something else that might also suit your needs.I would also encourage you to search for other arrangements by Regis Bookshar, as there are numerous selections in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I'm certain that this wonderful arrangement of the Russian Dance from Tchaikovsky's marvelous holiday favorite,&n.
$16.00
AMADEUS suite - 3. Romanza K. 466 from PIANO CONCERTO in D minor
#
Quatuor de Cuivres : 2 trompettes, trombone, tuba
#
INTERMÉDIAIRE
#
Classique
#
Wolfgang Amadeus Mozart
#
Alessandro Macrì
#
AMADEUS suite - 3. Romanza K.
#
Music Macri Editions
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.931210 Composed by Wolfgang Amadeus Mozart. Arranged by Alessandro Macrì. Classical,Con...
(+)
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.931210 Composed by Wolfgang Amadeus Mozart. Arranged by Alessandro Macrì. Classical,Concert,Graduation. Score and parts. 20 pages. Music Macri Editions #3640387. Published by Music Macri Editions (A0.931210). Il concerto per pianoforte e orchestra n. 20, KV 466, è una composizione di Wolfgang Amadeus Mozart, completata il 10 febbraio1785 a Vienna.Wolfgang Amadeus Mozart finì di comporre il Concerto per pianoforte e orchestra n. 20 in re minore K 466 il 10 febbraio 1785. Il giorno successivo lo eseguì come solista a Vienna in uno dei suoi concerti per abbonamento che, a quel tempo, avevano molto richiamo. Narra la leggenda che Mozart distribuì agli orchestrali le copie appena trascritte dell'ultimo movimento, al momento stesso di andare in scena. Il concerto si svolse nella sala Mehlgrube e vi parteciparono anche il padre Leopold, appositamente venuto da Salisburgo.L'Andante del secondo tempo è una romanza in 2/2 in forma ABACA. Come fa spesso, qui Mozart gioca di contrasti, espliciti e mascherati. Il primo contrasto è con il carattere del movimento che lo ha preceduto. Nell'inizio del secondo movimento il tema è sereno, apparentemente idilliaco e la tonalità solare (Si bemolle maggiore) lo conferma. È il tempo scelto (2/2) che ci fornisce il primo indizio sulle intenzioni dell'autore. A differenza di altri pezzi di grande lirismo il tempo non è un morbido ternario (3/4, 6/8), né un 4/4 con il suo respiro ampio ed il suo alternarsi di battere forti e smussati, ma un marziale 2/2. Il tema principale viene esposto dal solista, ripreso poco dopo dall'orchestra, passa dall'una all'altro con la solita maestria orchestrale mozartiana. Il secondo tema si presenta immediatamente con un salto di ottava ed intervalli ampi si ritrovano in tutto il suo svolgimento. È questo espediente più volte iterato che Mozart usa per costruire tensioni armoniche in crescendo che portano al minore e ad atmosfere già distanti dal primo tema. Con grazia sorprendente Mozart torna quindi sul primo tema per la seconda sezione. La terza sezione tematica precipita in minore, e questa volta con una serie di scale forsennate che richiamano alcuni passaggi dello sviluppo del primo movimento. Gli accordi verticali in forte (bisognerà aspettare Beethoven per i primi fortissimo) marcano di brusche fermate e riprese il rincorrersi delle scale. Un arpeggio rallentato e un arabesco riportano al tema principale che chiude questa pagina in un finto clima di riconciliazione, aprendo al frenetico finale.
$9.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
#
Orchestre
#
Classique
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
(+)
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
#
Orchestre
#
Classique
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
(+)
Full Orchestra - 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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
#
Orchestre
#
Classique
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
(+)
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
El Chusalongo y el Patachuga
#
Piano seul
#
INTERMÉDIAIRE
#
Leonardo Mendoza S
#
Leonardo Mendoza S
#
El Chusalongo y el Patachuga
#
Leonardo Mendoza S.
#
SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1100740 By Leonardo Mendoza S. By Leonardo Mendoza S. Arranged by Leonardo Mendoza S. Children,Classical,Contemporary,Tra...
(+)
Piano Solo - Level 3 - SKU: A0.1100740 By Leonardo Mendoza S. By Leonardo Mendoza S. Arranged by Leonardo Mendoza S. Children,Classical,Contemporary,Traditional. Score. 16 pages. Leonardo Mendoza S. #704410. Published by Leonardo Mendoza S. (A0.1100740). El Chusalongo y el Patachuga, es una obra para piano solo inspirada en los niños y en los ritmos peruanos. Consta de 5 movimientos (como una pequeña suite), de los cuales, 3 de ellos, están basados en el mismo motivo pero desarrollado de manera diferente.
$5.00
Divertimento
#
Ensemble de guitares
#
AVANCÉ
#
Contemporain
#
Victor Rebullida
#
Divertimento
#
Victor Rebullida
#
SheetMusicPlus
Large Ensemble Guitar - Level 5 - SKU: A0.1021521 Composed by Victor Rebullida. Contemporary. Score and parts. 69 pages. Victor Rebullida #6065131. Publ...
(+)
Large Ensemble Guitar - Level 5 - SKU: A0.1021521 Composed by Victor Rebullida. Contemporary. Score and parts. 69 pages. Victor Rebullida #6065131. Published by Victor Rebullida (A0.1021521). --------------Divertimento was born from the proposal that at the end of 2007 makes me the TerpsÃcore Guitar Quartet, from Huesca (Spain) to compose a work for this group.The title comes from the very conception of the work: a series of short pieces as a free-form suite. In this work musicality is present in the foreground from beginning to end, overlaying itself in the presence of the important technique required of performers. In Divertimento the wide expressive range of the guitar is exploited, in this case amplified by the generous acoustic possibilities that the quartet makes available to the composer.The six movements that consist begin with Toccata, which recalls the baroque namesake pieces with their fast scales that run over until they reach a strum climax. It is followed by Serenata, a piece of great expressiveness as a song. Behind it, Intermezzo takes place in a context of Impressionist sonorities. Scherzo-vals, as the name suggests, is a waltz written in a humorous tone that precedes Night, in which the insistent harmonic chords create a dreamlike and somewhat disturbing atmosphere. The fast-paced final Dance evokes with its irregular rhythm the folklore of other lands.It is dedicated to TerpsÃcore Quartet.----------------------Divertimento nace de la propuesta que a finales del año 2007 me hace el Cuarteto de guitarras TerpsÃcore, de Huesca (España) para componer una obra para este grupo. El tÃtulo viene de la propia concepción de la obra: una serie de piezas breves a modo de suite con forma libre. En esta obra la musicalidad está presente en primer plano de principio a fin sobreponiéndose en presencia a la importante técnica exigida a los intérprete. En Divertimento se explota la amplia gama expresiva de la guitarra, en este caso amplificada por las generosas posibilidades acústicas que el cuarteto pone a disposición del compositor. Los seis movimiento de que consta comienzan con Toccata, que rememora las piezas homónimas barrocas con sus veloces escalas que se van atropellando hasta alcanzar un clÃmax rasgueado. Le sigue Serenata, pieza de una gran expresividad a modo de canción. Tras ésta, Intermezzo se desarrolla en un contexto de sonoridades impresionistas. Scherzo-vals, como su nombre indica, es un vals escrito en tono humorÃstico que precede a Nocturno, en el que los insistentes acordes en armónicos crean una atmósfera onÃrica y un tanto inquietante. La trepidante Danza final evoca con su ritmo irregular el folclore de otras tierras. Está dedicada al Cuarteto TerpsÃcore.
$12.00
Serenata Española. New completely revised and fingered edition based on original sources,
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Joaquín Malats
#
Serenata Española. New
#
Pedro Jesús Gómez Lorente
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1449751 Composed by Joaquín Malats (1872 - 1912). Arranged by Pedro Jesús Gómez (arranger) & Juan Velázquez (editor)...
(+)
Solo Guitar - Level 4 - SKU: A0.1449751 Composed by Joaquín Malats (1872 - 1912). Arranged by Pedro Jesús Gómez (arranger) & Juan Velázquez (editor). 19th Century,Romantic Period. Individual part. 12 pages. Pedro Jesús Gómez Lorente #1029511. Published by Pedro Jesús Gómez Lorente (A0.1449751). Joaquín Malats's Serenata Española was premiered at the Salon Érard in Barcelona on 22 September 1891,[1] and was published by Zozaya a year later. Despite what it may seem from the initial title on the cover of the Suite Impresiones de España, this work was never performed as a suite for orchestra. Originally conceived as a collection in which the Serenade was the second of the pieces, only this one was published in addition to the first one: Danza. Joaquim Malats performed these two compositions in numerous concerts as part of the Suite Impresiones de España,[2] however, he neither published them as a unitary corpus, nor did the ochestral version see the light. The suite was initially dedicated to the great writer Benito Pérez Galdós, who was also a personal friend of the composer. This edition aims to provide a new vision of the work by contrasting the first two arrangements that were made, by Tárrega and by his disciple Severino García Fortea, with the original piano source, paying special attention to include agogics, dynamics and phrasing arcs indications in the piano font and to the maintenance of the original structure of the work. [1] «Joaquín Malats i Miarons», Real Academia de la Historia (blog), Last accessed April 12th 2024, https://dbe.rah.es/biografias/12709/joaquin-malats-i-miarons 2024-04-12.[2] Joaquín Malats, Impresiones de España. Suite de orquesta (Madrid: Zozaya, 1892).
$8.50
Day by Day [12 pieces for flute and piano]
#
Juan Maria Solare
#
Juan Maria Solare
#
Day by Day [12 pieces for flut
#
Juan Maria Solare
#
SheetMusicPlus
Piano,Soprano Flute - Level 3 - SKU: A0.1491061 By Juan Maria Solare. By Juan Maria Solare. Arranged by Juan Maria Solare. Chamber,Classical,Contemporar...
(+)
Piano,Soprano Flute - Level 3 - SKU: A0.1491061 By Juan Maria Solare. By Juan Maria Solare. Arranged by Juan Maria Solare. Chamber,Classical,Contemporary,Instructional,Latin. Score and part. 54 pages. Juan Maria Solare #1067824. Published by Juan Maria Solare (A0.1491061). Day by Day is a suite of twelve pieces for flute and piano that reflects the continuous, ongoing process of daily life. The overarching title Day by Day suggests both a focus on the present moment and daily progress. The individual titles are chosen to evoke specific moods, settings, and introspective themes (from the mundane to the profound), each capturing a distinct moment or emotion within the broader journey of life. The suite, while pedagogical in nature, offers layers of meaning and technical challenges that encourage both the performer and the listener to engage deeply with each piece. 1. One Day at a Time (Un día a la vez / Einen Tag nach dem anderen) 1:152. End of Summer (Final del verano, Sommerende / Ende des Sommers) 1:153. Late Night Drive (Manejando de noche / Nachtfahrt) 1:204. Daydreamcatcher (Atrapasueños diurnos / Tagtraumfänger) 1:205. Touching the Rain (Palpando la lluvia / Den Regen spüren) 1:156. Echoes of the Valley (Ecos del Valle / Echos des Tals) 1:207. Satin Gloves (Guantes de satén / Satinhandschuhe) 2:308. The Origin of Trust (El origen de la confianza / Der Ursprung des Vertrauens) 1:209. Behind the Clock (Detrás del reloj / Hinter der Uhr) 1:3010. Streets of Neon and Vigil (Calles de Neón y de vigilia / Straßen des Neons und der Wachsamkeit) 2:3011. In the Pocket (En el bolsillo / In der Tasche) 2:0012. Patagonian Wild Horses (Caballos salvajes patagónicos / Patagonische Wildpferde) 2:30.
$6.00
Danza Espanola No.2 'Oriental' for Spanish Guitar
#
Guitare
#
INTERMÉDIAIRE
#
Keith Terrett
#
Keith Terrett
#
Danza Espanola No.2 'Oriental'
#
Keith Terrett
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1442514 By Keith Terrett. By Pantaleón Enrique Joaquín Granados Campiña (27 July 1867 – 24 March 1916). Arranged by...
(+)
Solo Guitar - Level 3 - SKU: A0.1442514 By Keith Terrett. By Pantaleón Enrique Joaquín Granados Campiña (27 July 1867 – 24 March 1916). Arranged by Keith Terrett. Classical,Contest,Festival,Instructional,Multicultural,Romantic Period,World. Individual part. 5 pages. Keith Terrett #1022477. Published by Keith Terrett (A0.1442514). Pantaleón Enrique Joaquín Granados Campiña (27 July 1867 – 24 March 1916), commonly known as Enrique Granados in Spanish or Enric Granados in Catalan, was a Spanish composer of classical music, and concert pianist from Catalonia, Spain. His most well-known works include Goyescas, the Spanish Dances [es], and María del Carmen.Granados wrote piano music, chamber music (a piano quintet, a piano trio, music for violin and piano), songs, zarzuelas, and an orchestral tone poem based on Dante's Divine Comedy. Many of his piano compositions have been transcribed for the classical guitar; examples include Dedicatoria, Danza No. 5, and Goyescas.His music can be divided into three styles or periods:A romantic style including such pieces as Escenas Románticas and Escenas Poeticas.A more typically nationalist, Spanish style including such pieces as Danzas Españolas (Spanish Dances), 6 Piezas sobre cantos populares españoles (Six Pieces based on popular Spanish songs).The Goya (Goyesca) period, which includes the piano suite Goyescas, the opera Goyescas, various Tonadillas for voice and piano, and other works.Granados was a significant influence on at least two other famous Spanish composers and musicians, Manuel de Falla and Pablo Casals. He was also the teacher of composer Rosa García Ascot.
$1.99
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
Suite de Salón
