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--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
TAM Press
Non classifié
116
Piano & claviers
Piano seul
80
Orgue
23
Piano, Voix et Guitare
12
Piano, Voix
11
Piano Facile
9
Instruments en Do
4
Piano Trio: piano, violon, violoncelle
3
1 Piano, 4 mains
2
2 Pianos, 4 mains
1
+ 4 instrumentations
Retracter
Guitares
Guitare
10
Guitare notes et tablatures
9
Ligne De Mélodie, (Paroles) et Accords
1
Voix
Chorale SATB
59
Chorale 3 parties
26
Chorale 2 parties
11
Chorale TTBB
4
Chorale SSAA
3
Voix duo, Piano
2
Voix duo
2
Chorale Unison
2
Chorale SSAATTBB
2
Chorale SSAB, Piano
1
Voix Soprano, Piano
1
Chorale SSATB
1
Soli, choeur mixte et accompagnement
1
Chorale
1
+ 9 instrumentations
Retracter
Vents
Flûte traversière et Piano
7
Quatuor de Saxophones: 4 saxophones
6
Clarinette et Piano
4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Flûte, Hautbois, Clarinette, Basson
3
Saxophone Alto et Piano
3
Flûte traversière
2
Hautbois (partie séparée)
2
2 Saxophones (duo)
2
Flûte, Clarinette et Basson
2
Clarinette, Basson (duo)
2
Flûte traversière, Orgue (duo)
2
Saxophone Tenor et Piano
2
Saxophone Soprano et Piano
1
Quintette de Saxophone: 5 saxophones
1
Flûte, Violoncelle
1
Cornemuse
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
3 Clarinettes (trio)
1
Hautbois, Piano (duo)
1
Flûte à bec Soprano
1
Quintette de Flûte : 5 flûtes
1
2 Clarinettes (duo)
1
Saxophone et Guitare
1
Flûte et Trio à cordes
1
Cor anglais, Piano
1
Quatuor de Flûtes : 4 flûtes
1
Quatuor de Clarinettes: 4 clarinettes
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Hautbois, Violoncelle
1
+ 25 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
7
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
4
Cor
3
Trombone et Piano
3
Euphonium, Piano (duo)
2
2 Cors (duo)
2
Quatuor de cuivres: 4 trombones
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Trompette, Piano
1
Tuba et Piano
1
2 Tubas (duo)
1
Cor anglais, Piano
1
Cor et Piano
1
+ 8 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
20
Trio à Cordes: violon, alto, violoncelle
14
Violon et Piano
12
Violon, Violoncelle (duo)
6
Violoncelle, Piano
5
Violon
4
Violoncelle
4
Trio à Cordes: 2 violons, violoncelle
3
Alto, Piano
3
4 Violoncelles
2
2 Violons (duo)
2
Quatuor à cordes: 4 violons
1
Harpe
1
Quatuor à cordes : 4 altos
1
Trio à cordes: 3 violins
1
Piano Trio: Violon, Alto, Piano
1
Violoncelle, Orgue
1
+ 12 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
32
Orchestre
13
Orchestre à Cordes
8
Cloches
5
Ensemble de cuivres
4
Ensemble de Percussions
4
Fanfare
3
Orchestre de chambre
2
Vibraphone
1
+ 4 instrumentations
Retracter
Autres
Instruments
ACCORDEON
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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
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--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
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GOSPEL - SPIRITUEL -…
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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
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Vous avez sélectionné:
TAM Press
Partitions à imprimer
635 partitions trouvées
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626
Old Testament Sketches
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Musique Sacrée
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Douglas E
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Old Testament Sketches
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Sacred Music Press
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SheetMusicPlus
Handbells (2 octaves) SKU: LO.SHB18 Composed by Douglas E. Wagner. Sacred. Handbell score. Sacred Music Press #SHB18. Published by Sacred Music Press (LO...
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Handbells (2 octaves) SKU: LO.SHB18 Composed by Douglas E. Wagner. Sacred. Handbell score. Sacred Music Press #SHB18. Published by Sacred Music Press (LO.SHB18). With optional narrator or speech choir.
$5.50
Bantama Kra Kro
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Mark Weston
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Bantama Kra Kro
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Heritage Music Press
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SheetMusicPlus
2-part choir, Percussion (With Optional Piano) - SKU: LX.15-3109H Arranged by Mark Weston. New Horizons Series. Educational, Concert, Festival, Diversit...
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2-part choir, Percussion (With Optional Piano) - SKU: LX.15-3109H Arranged by Mark Weston. New Horizons Series. Educational, Concert, Festival, Diversity Programming. Octavo. 8 pages. Heritage Music Press #e15/3109H. Published by Heritage Music Press (LX.15-3109H). ISBN 9781429138529.Mark Weston makes this Ghanaian folk song accessible for all! A pronunciation guide is provided for the Ghanaian text as well as English lyrics and suggestions for optional language alternations to allow you to create your own language map. Rhythmic fun abounds with percussion parts.
$2.40
Al Tambor
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Chorale 2 parties
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Victor C
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Al Tambor
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Heritage Music Press
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SheetMusicPlus
By Victor C. Johnson. For 2-part choir voices and piano. Choral score. Published by Heritage Music Press ...
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By Victor C. Johnson. For 2-part choir voices and piano. Choral score. Published by Heritage Music Press
$2.50
Al Tambor
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Chorale 3 parties
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Victor C
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Al Tambor
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Heritage Music Press
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SheetMusicPlus
By Victor C. Johnson. For 3-part mixed choir and piano. Choral score. Published by Heritage Music Press ...
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By Victor C. Johnson. For 3-part mixed choir and piano. Choral score. Published by Heritage Music Press
$2.75
Cantamos Juntos (We Sing Together)
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Chorale 3 parties
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Greg Gilpin
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Cantamos Juntos
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Heritage Music Press
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SheetMusicPlus
By Greg Gilpin. For 3-part mixed choir, piano, flute, percussion. Concert, Multicultural. Choral score. Published by Heritage Music Press ...
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By Greg Gilpin. For 3-part mixed choir, piano, flute, percussion. Concert, Multicultural. Choral score. Published by Heritage Music Press
$2.75
Cantamos Juntos (We Sing Together)
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Chorale 2 parties
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Greg Gilpin
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Cantamos Juntos
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Heritage Music Press
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SheetMusicPlus
By Greg Gilpin. For Two-part choir, Descant, Flute, Percussion, Piano. Educational Octavo. Sing Out Series. Concert, Multicultural. Published by Heritage Music ...
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By Greg Gilpin. For Two-part choir, Descant, Flute, Percussion, Piano. Educational Octavo. Sing Out Series. Concert, Multicultural. Published by Heritage Music Press
$2.50
HYMN OF PRAISE (3-part mixed, piano, opt. tamb.)
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Chorale 3 parties
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FACILE
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Musique Sacrée
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Anthony Giamanco
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HYMN OF PRAISE
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Whole Tone Press
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SheetMusicPlus
Choral Choir (3-Part Mixed) - Level 2 - SKU: A0.774093 Composed by Anthony Giamanco. Jewish,Multicultural,Sacred,World. Octavo. 32 pages. Whole Tone Pre...
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Choral Choir (3-Part Mixed) - Level 2 - SKU: A0.774093 Composed by Anthony Giamanco. Jewish,Multicultural,Sacred,World. Octavo. 32 pages. Whole Tone Press #6674597. Published by Whole Tone Press (A0.774093). This exciting work for 3-part mixed voices, piano, and optional tambourine will become the highlight of any worship service or concert, with its infectious melody, masterful weaving of vocal parts, and delightful piano accompaniment all coming together to create an anthem of distinction. Add the optional tambourine for even more colour.Medium - easy. Includes Full Score (Director's Score), Choral Score (part I), Choral Score (parts II and III), Piano Score, and Tambourine part.Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His music also can be purchased through sheetmusicplus.com, Sheet Music Marketplace, and JW Pepper.Anthony's music can be heard on his website, anthonygiamanco.com,https://www.anthonygiamanco.com,on SoundCloudhttps://soundcloud.com/tony-giamanco,and on his YouTube channel
$2.25
Four Impressions on Debussy (4 Piano Preludes - Full Orchestra) ? Score and Parts
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy
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Ben Trigg
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Four Impressions on Debussy
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OlivePress Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1370381 Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. OlivePress Music ...
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Full Orchestra - Level 4 - SKU: A0.1370381 Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. OlivePress Music #954757. Published by OlivePress Music (A0.1370381). From Debussyâ??s Préludes, Book I:I: The Wind Over The PlainsII: The Girl With The Flaxen HairIII: Puckâ??s DanceIV: The Sunken CathedralDebussyâ??s piano music is filled with colour, texture, vibrancy, sonority. To play it is to be taken inside a sound world greater than the instrument itself. In other words, it seems to demand orchestration. Whether the fanfare call of Puckâ??s Dance, the sotto voce flurries evoking The Wind Over The Plains, or the deepest and highest reaches of the musical spectrum explored in the under-water world of The Sunken Cathedral, Debussyâ??s music seems to drop hints at obvious orchestral manoeuvres. His great skill, of course, was condensing these musical ideas to the piano. But the fruit is there fo the taking, and indeed other orchestrations exist of the complete suite of piano preludes â?? Books I and II. So, why another?This particular suite cherry-picks some of my own favourite movements from the suite, and arranges them in a â??symphonicâ?? structure to present an opening, expository movement (The Wind Over The Plains), a romantic Adagio (The Girl With The Flaxen Hair), a sprightly â??scherzoâ?? (Puckâ??s Dance), concluding with an epic finale (The Sunken Cathedral). This condensed suite may make the music more approachable for some orchestras, and offers something shorter to concert programmes wishing to feature other major works alongside, instead of performing all 24 preludes.I hope you enjoy performing this suite as much as I enjoyed arranging it.Instrumentation: Piccolo 2 Flutes 2 Oboes Cor Anglais 2 Clarinets in Bâ? Bass Clarinet in Bâ? 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in Bâ? 2 Trombones Bass Trombone Tuba Timpani Percussion (3/4 players): Triangle, Crash Cymbals, Suspended Cymbal, Bass Drum, Tam-Tam, Glockenspiel, Tubular Bells Celesta Harp Violin 1 (divisi à 4) Violin 2 (divisi à 4) Viola (divisi à 4) Violoncello (divisi à 4) Contrabass (B extension where possible) (divisi à 4)
$99.99
A. DvoÅ™ák-Ty hvÄ›zdiÄky tam na nebi(The stars that twinkle in the sky),in E Major,B.61 No.1(Op.3 No.1
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Piano, Voix
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INTERMÉDIAIRE
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Classique
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AntonÃv Dvořák
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OSM Press
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A. DvoÅ™ák-Ty hvÄ
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Open Cloud
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1389719 Composed by AntonÃv Dvořák. Arranged by OSM Press. Classical. Score. 3 pages. Open Cloud #973314...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1389719 Composed by AntonÃv Dvořák. Arranged by OSM Press. Classical. Score. 3 pages. Open Cloud #973314. Published by Open Cloud (A0.1389719).
$1.99
Impressions of Yellowstone
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Daniel Baldwin
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beautiful, powerful
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Impressions of Yellowstone
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Imagine Music - Digital
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SheetMusicPlus
Piano and Double Reeds - SKU: IZ.CMW211 Composed by Daniel Baldwin. Score and Parts. 86 pages. Imagine Music - Digital #CMW211. Published by Imagine Mus...
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Piano and Double Reeds - SKU: IZ.CMW211 Composed by Daniel Baldwin. Score and Parts. 86 pages. Imagine Music - Digital #CMW211. Published by Imagine Music - Digital (IZ.CMW211). 9 x 12 inches.My wife and I love to travel together. We are always looking for places to go together, as well as excuses to include each other in our own individual travels. One of my personal favorite travel opportunities is the International Double Reed Society conference. It is an opportunity to catch up with friends, make new friends and contacts, and make beautiful music. A number of years ago, I started the All Star Double Reed Band that has now premiered over a dozen new pieces for large double reed ensemble, and has recorded an album of those works. As a combined labor of love, I wrote Impressions of Yellowstone for my wife, a concert pianist, to perform with this group.The first movement, “Little Grand Canyon opens with a chorale in the piano illustrating the simple majesty of the great and wondrous park that my wife and I visit annually with her parents. From there, the music exemplifies my impression of this wondrous landscape; beautiful, powerful. A deep valley with a waterfall on one end, it is one of the more beautiful sites to see in Yellowstone.The second movement, Grand Prismatic, is a musical impression of the different perspectives of this very famous Yellowstone landmark. From the overlook, you see a stunning pond with steam emanating from it and surrounded by color. However, if you are to go down and stand next to the hotspot, your perspective changes greatly. Sulfur smells, danger from the soft crust (with boiling sulfuric liquid just below the surface), and a hot, steamy fog of mist permeate the area.In the finale, Old Faithful, tone painting is brought out in full force as the opening piano solo material brings about the image of the geyser bubbling and building below the surface. Then, at the point of explosion, you hear the water falling and the delight of all of the dozens of onlookers who visit this most famous site at Yellowstone every day.The original version, for double reeds, is dedicated the All Star Double Reed Band and my wife, Tammy Miller, who recorded it on the Co-Op Press label.The version for piano and string orchestra is dedicated to Tammy and the National Composers Orchestra who recorded it on the Baldwin Records label.
$60.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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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
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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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
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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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
Stamitz-Quartet in E flat Major,Op.19 No.1,for Clarinet,Vln,Vla&VC
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Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
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INTERMÉDIAIRE
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Classique
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Stamitz
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MSM
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Stamitz-Quartet in E flat Majo
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Open Cloud
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SheetMusicPlus
Cello,Clarinet,Viola,Violin - Level 3 - SKU: A0.672697 Composed by Stamitz. Arranged by MSM. Classical,Romantic Period. 64 pages. Open Cloud #5337575. P...
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Cello,Clarinet,Viola,Violin - Level 3 - SKU: A0.672697 Composed by Stamitz. Arranged by MSM. Classical,Romantic Period. 64 pages. Open Cloud #5337575. Published by Open Cloud (A0.672697). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Stamitz (Stamitz,Carl Philipp),1745-1801, for Clarinet,Vln,Vla&VC, published by More Sheet Music Press.
$15.99
Stamitz-Quartet in E flat Major,Op.19 No.1,for Flute,Vln,Vla&VC
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Flûte et Trio à cordes
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INTERMÉDIAIRE
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Classique
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Stamitz
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MSM
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Stamitz-Quartet in E flat Majo
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Open Cloud
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SheetMusicPlus
Cello,Flute,Viola,Violin - Level 3 - SKU: A0.672696 Composed by Stamitz. Arranged by MSM. Classical,Romantic Period. 64 pages. Open Cloud #5337583. Publ...
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Cello,Flute,Viola,Violin - Level 3 - SKU: A0.672696 Composed by Stamitz. Arranged by MSM. Classical,Romantic Period. 64 pages. Open Cloud #5337583. Published by Open Cloud (A0.672696). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Stamitz (Stamitz,Carl Philipp),1745-1801, for Flute,Vln,Vla&VC, published by More Sheet Music Press.
$15.99
Stamitz-Quartet No.4 in E flat Major,Op.8 No.4,for Ob,Vln,Vla&VC
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Hautbois, Violin, Alto et Violoncelle (Quatuor)
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INTERMÉDIAIRE
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Classique
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Stamitz
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MSM
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Stamitz-Quartet No.4 in E flat
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Open Cloud
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SheetMusicPlus
Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.672698 Composed by Stamitz. Arranged by MSM. Classical,Romantic Period. 49 pages. Open Cloud #5337587. Publi...
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Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.672698 Composed by Stamitz. Arranged by MSM. Classical,Romantic Period. 49 pages. Open Cloud #5337587. Published by Open Cloud (A0.672698). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Stamitz (Stamitz,Carl Philipp),1745-1801, for Ob,Vln,Vla&VC, published by More Sheet Music Press.
$11.99
Hymn of Praise (3-part mixed choir, piano, and opt. tambourine) FULL SCORE
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Chorale 3 parties
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FACILE
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Musique Sacrée
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Anthony Giamanco
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Hymn of Praise
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Whole Tone Press
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SheetMusicPlus
Choral Choir (SAB) - Level 2 - SKU: A0.773782 Composed by Anthony Giamanco. Concert,Sacred. Octavo. 17 pages. Whole Tone Press #5306531. Published by Wh...
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Choral Choir (SAB) - Level 2 - SKU: A0.773782 Composed by Anthony Giamanco. Concert,Sacred. Octavo. 17 pages. Whole Tone Press #5306531. Published by Whole Tone Press (A0.773782). This colorful, exciting work for 3-part choir, piano and optional tambourine, is a delight to sing, and easy to learn! It is a versatile piece with a Middle Eastern flavor, useful for almost any worship service, and well-suited to smaller choirs. There are three editions: Full score, choir edition, and instrumental parts (tambourine and piano). Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com and JW Pepper. Anthony's music can be heard on his website, anthonygiamanco.com, and on YouTube. Contact info:tony@shalomlife.org.
$2.25
Hymn of Praise (3-part mixed choir, piano, and opt. tambourine) INSTRUMENTAL PARTS
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Chorale 3 parties
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FACILE
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Musique Sacrée
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Anthony Giamanco
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Hymn of Praise
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Whole Tone Press
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SheetMusicPlus
Choral Choir (3-Part) - Level 2 - SKU: A0.773783 Composed by Anthony Giamanco. Concert,Sacred. Octavo. 4 pages. Whole Tone Press #5306557. Published by ...
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Choral Choir (3-Part) - Level 2 - SKU: A0.773783 Composed by Anthony Giamanco. Concert,Sacred. Octavo. 4 pages. Whole Tone Press #5306557. Published by Whole Tone Press (A0.773783). The instrumental parts (tambourine and piano) for Hymn of Praise.
$1.99
Christmas Testament SATB/Piano/ Handbells optional
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Chorale SATB
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Noël
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Composer -Anita Gower Lyricist
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Christmas Testament SATB/Piano
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Arpeggio Press
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.993556 Composed by Composer -Anita Gower Lyricist - Carrie L. Curtis. Christian,Christmas,Contemporary,Spiritual,World. Oc...
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Choral Choir (SATB) - SKU: A0.993556 Composed by Composer -Anita Gower Lyricist - Carrie L. Curtis. Christian,Christmas,Contemporary,Spiritual,World. Octavo. 4 pages. Arpeggio Press #4728523. Published by Arpeggio Press (A0.993556). This song begins in reverence, focusing on Christ the Son and celebrate. A refrain opens in full harmony and joyoussounds for a merry or for a blessed Christmas, a choice of words to be made according to protocol.. Musical dynamics will be indicated by the energy of the lyrics from Ms. Curtis. Occasional handbells optional and are noted on the performance score.
$2.30
CADENZA (Stamitz Cello Concerto nº 2 in A Major)
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Violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Carl Phillip Stamitz
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CADENZA
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Javier MARTÃNEZ CAMPOS
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SheetMusicPlus
Cello Solo - Level 4 - SKU: A0.1232582 By Carl Phillip Stamitz. By Javier MARTÃNEZ CAMPOS. A Cappella,Baroque,Chamber,Classical. Individual part. 1 p...
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Cello Solo - Level 4 - SKU: A0.1232582 By Carl Phillip Stamitz. By Javier MARTÃNEZ CAMPOS. A Cappella,Baroque,Chamber,Classical. Individual part. 1 pages. Javier MARTÃNEZ CAMPOS #828239. Published by Javier MARTÃNEZ CAMPOS (A0.1232582). Are you tired of always playing the same cadences? Dare to try a simple, comfortable and impressive one for C. P. Stamitz's Cello Concerto nº 2.Take the leap and elevate your performance to new heights.
$2.99
Stamitz: Duet Op. 27 No. 6 for Alto Saxophone Duo
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2 Saxophones (duo)
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INTERMÉDIAIRE
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Carl Stamitz
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James M
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Stamitz: Duet Op. 27 No. 6 for
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Baritone Saxophone - Level 3 - SKU: A0.1372047 Composed by Carl Stamitz. Arranged by James M. Guthrie. Chamber,Classical,Contest,Festival...
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Alto Saxophone,Baritone Saxophone - Level 3 - SKU: A0.1372047 Composed by Carl Stamitz. Arranged by James M. Guthrie. Chamber,Classical,Contest,Festival,Historic,Wedding. Saxophone Duet. 14 pages. Jmsgu3 #956264. Published by jmsgu3 (A0.1372047). The significance of Stamitz Duets Op. 27 lies in their contribution to the duet repertoire for two violins (or two flutes). Composed by Carl Stamitz, a prominent figure of this era, the duets were published in 1780. These duets are well-regarded for their musicality and are popular choices for duet performances and educational purposes. They are available in sheet music and have been performed in concerts and recordings, reflecting their enduring appeal and importance in the classical music domain. The duets are known for their melodic and expressive qualities, making them valuable for developing ensemble playing and musical interpretation skills. They are also appreciated for their historical significance in the context of classical music composition and the repertoire for violin or flute duets. Carl Stamitz, born in 1745 and passing away in 1801, was a significant figure in music history, particularly in the classical period. He was one of the most prolific Mannheim orchestral composers, known for writing numerous symphonies, concertos for various instruments, and other instrumental works. Stamitz's influence on the evolution of the Classical sonata form by introducing contrasting themes within a single movement is also noteworthy. He was a prominent representative of the second generation of the Mannheim School, and his contributions to the duet repertoire for two violins or two flutes are highly regarded for their musicality and historical significance. Despite not being as widely recognized as some of his contemporaries, his work has left a lasting impact on the classical music domain.Carl Stamitz significantly contributed to the Mannheim School of Music as the most prominent representative of its second generation. He was the eldest son of Johann Stamitz, a violinist and composer considered the Mannheim School's founder. Carl Stamitz's contribution to the school included his role as a prolific orchestral composer, writing numerous symphonies, concertos for various instruments, and other instrumental works. His work, along with other members of the Mannheim School, helped solidify the Classical symphony and its dynamic contrasts, impacting the evolution of the classical music period. Carl Stamitz's choice of the viola as his favorite instrument and his compositions for the viola also contributed to the school's legacy.
$24.95
Stamitz: Duet Op. 27 No. 2 for French Horn Duo
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2 Cors (duo)
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INTERMÉDIAIRE
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Carl Stamitz
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James M
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Stamitz: Duet Op. 27 No. 2 for
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jmsgu3
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SheetMusicPlus
French Horn Duet Horn - Level 3 - SKU: A0.552253 Composed by Carl Stamitz. Arranged by James M. Guthrie. Classical,Instructional,Standards,Wedding. Scor...
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French Horn Duet Horn - Level 3 - SKU: A0.552253 Composed by Carl Stamitz. Arranged by James M. Guthrie. Classical,Instructional,Standards,Wedding. Score. 14 pages. Jmsgu3 #6306433. Published by jmsgu3 (A0.552253). I. Andante II. Menuetto III. Allegro The significance of Stamitz Duets Op. 27 lies in their contribution to the duet repertoire for two violins (or two flutes). Composed by Carl Stamitz, a prominent figure of this era, the duets were published in 1780. These duets are well-regarded for their musicality and are popular choices for duet performances and educational purposes. They are available in sheet music and have been performed in concerts and recordings, reflecting their enduring appeal and importance in the classical music domain. The duets are known for their melodic and expressive qualities, making them valuable for developing ensemble playing and musical interpretation skills. They are also appreciated for their historical significance in the context of classical music composition and the repertoire for violin or flute duets. Carl Stamitz, born in 1745 and passing away in 1801, was a significant figure in music history, particularly in the classical period. He was one of the most prolific Mannheim orchestral composers, known for writing numerous symphonies, concertos for various instruments, and other instrumental works. Stamitz's influence on the evolution of the Classical sonata form by introducing contrasting themes within a single movement is also noteworthy. He was a prominent representative of the second generation of the Mannheim School, and his contributions to the duet repertoire for two violins or two flutes are highly regarded for their musicality and historical significance. Despite not being as widely recognized as some of his contemporaries, his work has left a lasting impact on the classical music domain.Carl Stamitz significantly contributed to the Mannheim School of Music as the most prominent representative of its second generation. He was the eldest son of Johann Stamitz, a violinist and composer considered the Mannheim School's founder. Carl Stamitz's contribution to the school included his role as a prolific orchestral composer, writing numerous symphonies, concertos for various instruments, and other instrumental works. His work, along with other members of the Mannheim School, helped solidify the Classical symphony and its dynamic contrasts, impacting the evolution of the classical music period. Carl Stamitz's choice of the viola as his favorite instrument and his compositions for the viola also contributed to the school's legacy.
$32.95
Stamitz: Duetto Op. 27 No. 3 for Violin Duo
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2 Violons (duo)
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INTERMÉDIAIRE
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Stamitz
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James M
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Stamitz: Duetto Op. 27 No. 3 f
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jmsgu3
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SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.1354186 Composed by Stamitz. Arranged by James M. Guthrie. Chamber,Classical,Contest,Festival,Traditional,Wedding...
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Violin Duet Violin - Level 3 - SKU: A0.1354186 Composed by Stamitz. Arranged by James M. Guthrie. Chamber,Classical,Contest,Festival,Traditional,Wedding. 19 pages. Jmsgu3 #938888. Published by jmsgu3 (A0.1354186). The significance of Stamitz Duets Op. 27 lies in their contribution to the duet repertoire for two violins (or two flutes). Composed by Carl Stamitz, a prominent figure of this era, the duets were published in 1780. These duets are well-regarded for their musicality and are popular choices for duet performances and educational purposes. They are available in sheet music and have been performed in concerts and recordings, reflecting their enduring appeal and importance in the classical music domain. The duets are known for their melodic and expressive qualities, making them valuable for developing ensemble playing and musical interpretation skills. They are also appreciated for their historical significance in the context of classical music composition and the repertoire for violin or flute duets. Carl Stamitz, born in 1745 and passing away in 1801, was a significant figure in music history, particularly in the classical period. He was one of the most prolific Mannheim orchestral composers, known for writing numerous symphonies, concertos for various instruments, and other instrumental works. Stamitz's influence on the evolution of the Classical sonata form by introducing contrasting themes within a single movement is also noteworthy. He was a prominent representative of the second generation of the Mannheim School, and his contributions to the duet repertoire for two violins or two flutes are highly regarded for their musicality and historical significance. Despite not being as widely recognized as some of his contemporaries, his work has left a lasting impact on the classical music domain.Carl Stamitz significantly contributed to the Mannheim School of Music as the most prominent representative of its second generation. He was the eldest son of Johann Stamitz, a violinist and composer considered the Mannheim School's founder. Carl Stamitz's contribution to the school included his role as a prolific orchestral composer, writing numerous symphonies, concertos for various instruments, and other instrumental works. His work, along with that of other members of the Mannheim School, helped solidify the Classical symphony and its dynamic contrasts, impacting the evolution of the classical music period. Additionally, Carl Stamitz's choice of the viola as his favorite instrument and his compositions for the viola also contributed to the school's legacy.
$24.95
Rounds Around the World
2-part choir, piano; optional wood block, tambourine, triangle
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Mary Lynn Lightfoot
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Rounds Around the World
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Heritage Music Press
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SheetMusicPlus
Composed by Mary Lynn Lightfoot. Sing Out Series. Concert, General. Octavo. 12 pages. Heritage Music Press #15/1826H. Published by Heritage Music Press (LX.15-...
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Composed by Mary Lynn Lightfoot. Sing Out Series. Concert, General. Octavo. 12 pages. Heritage Music Press #15/1826H. Published by Heritage Music Press (LX.15-1826H). - octavo - Concert, General - Heritage Music Press
$2.50
Nine Hundred Miles
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Chorale 3 parties
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Douglas E
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Nine Hundred Miles
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Heritage Music Press
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SheetMusicPlus
Composed by Douglas E. Wagner. Octavo. 12 pages. Heritage Music Press #15/3263H. Published by Heritage Music Press (LX.15-3263H). - octavo - - Heritage Music P...
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Composed by Douglas E. Wagner. Octavo. 12 pages. Heritage Music Press #15/3263H. Published by Heritage Music Press (LX.15-3263H). - octavo - - Heritage Music Press
$2.50
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