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A New Song- Guitar
Orchestra
Sheetmusic to print
9 sheet music found
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1
Burden Of Lives Full Score: Band & Parts
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Orchestra
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ADVANCED
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Suraj Synthesist
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Burden Of Lives Full Score: Ba
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Suraj Synthesist
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1152218 By Suraj Synthesist. By Suraj Synthesist. 20th Century,Contemporary,Multicultural,New Age,Roc...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1152218 By Suraj Synthesist. By Suraj Synthesist. 20th Century,Contemporary,Multicultural,New Age,Rock,World. Score and parts. 68 pages. Suraj Synthesist #752423. Published by Suraj Synthesist (A0.1152218). Track number 5, approx 5:35mins in the album Consume this album, A fiction of medieval Feudal times/land. A revenge song. This sheet music consists of Vocal lead and choral harmony, the Harpsichord &Organ Parts , Lead & Rhythm Guitars & Bass Guitar's tabs & Clefs, and Drums . Based on Phrygian Dominant and Phrygian or Hanumatodi, Vakulabharanam, and the Hindustani Raagas of Bhairavi. Double bass drumming in 10/8 with a strong polyrhythm, to groovy common time, Sweep arpeggios and chords of Diminished, Augmented, Flat9 , Major7-Sharp 11. Technical Prog Metal/Rock.
$14.99
Merry Christmas, Darling
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Orchestra
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INTERMEDIATE/ADVANCED
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The Carpenters
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John Langley / Studio Orchestr
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Merry Christmas, Darling
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www.studio-orchestrations.com
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1470001 By The Carpenters. By Frank Pooler and Richard Carpenter. Arranged by John Langley / Studio O...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1470001 By The Carpenters. By Frank Pooler and Richard Carpenter. Arranged by John Langley / Studio Orchestrations. Christmas,Holiday,Pop,Singer/Songwriter,Standards. 95 pages. Www.studio-orchestrations.com #1047742. Published by www.studio-orchestrations.com (A0.1470001). Merry Christmas, Darling is a Christmas song by the Carpenters (music by Richard Carpenter, lyrics by Frank Pooler), and originally recorded in 1970. It received a number of remixes, most notably in 1978 in a newly recorded vocal version by Karen Carpenter, which was done at her request. Richard Carpenter himself called the original recording one of his sister's very best. Hearing this song today with knowing ears and the knowledge of Karen Carepenter's mental health problems it makes a beautiful, sentimental song all the more bitter sweet and precious. It is a perfect little gem.In this orchestration - in the original Karen Carpenter key - there is never any heavy brass apart from 4 horns used very sparingly, and the optional original alto saxophone solo is also cued (as an alternative) for a Trumpet or Flugel horn if a sax is not available. A guitar in this texture is always desirable but can be traded off as long as there is bass guitar, light kit and percussion to support the soupy lush string lines.The backing vocals are a significant part of the song's haunting beauty and are also highly desirable however their harmony lines are covered by alternative wind instrument figures so this can be performed with or without backing vocals.INSTRUMENTATION:2 FlutesOboeCor Anglais2 Clarinets2 Bassoons4 HornsAlto Saxophone solo (Can be played on alt. Flugel/Trumpet part)2-3 PercussionHarpPianoElectric Guitar [Optional]Bass GuitarDrum KitVocal female soloistSATB Backing Vocals [Optional, cued to alt. instruments]StringsLook out for other arrangement/orchestrated titles by John Langley and writing partner Paul Campbell at www.studio-orchestrations.com.
$140.00
Overture - Oklahoma!
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Orchestra
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INTERMEDIATE/ADVANCED
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Oscar Hammerstein and Richard
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Marcus Martin
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Overture - Oklahoma!
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Cornelius Edition
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1317614 Composed by Oscar Hammerstein and Richard Rodgers. Arranged by Marcus Martin. 20th Century,Br...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1317614 Composed by Oscar Hammerstein and Richard Rodgers. Arranged by Marcus Martin. 20th Century,Broadway,Film/TV,Musical/Show. 84 pages. Cornelius Edition (uk) #906286. Published by Cornelius Edition (uk) (A0.1317614). This is the original overture for the stage version as printed in the vocal score. Â It contains 'The Farmer and the Cowman', Â 'Poor Jud is Dead', 'Many a New Day', 'People will say we're in Love' and the title song 'Oklahoma'. It is scored for 1121. 2210 Harp Strings Guitar and Percussion. This makes an excellent item in a Broadway type concert.
$55.00
We Will Rock You
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Orchestra
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INTERMEDIATE/ADVANCED
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Queen
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Javier MartÃnez Maya
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We Will Rock You
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Arte Nova Music Lab
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.742580 By Queen. By Brian May. Arranged by Javier MartÃnez Maya. A Cappella,Rock. Score and parts....
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Full Orchestra - Level 4 - Digital Download SKU: A0.742580 By Queen. By Brian May. Arranged by Javier MartÃnez Maya. A Cappella,Rock. Score and parts. 65 pages. Arte Nova Music Lab #6431861. Published by Arte Nova Music Lab (A0.742580). We Will Rock You is a song written by Brian May and recorded by British rock band Queen for their 1977 album News of the World. Rolling Stone ranked it number 330 of The 500 Greatest Songs of All Time in 2004, and it placed at number 146 on the Songs of the Century list in 2001. In 2009, We Will Rock You was inducted into the Grammy Hall of Fame.Other than the last 30 seconds, which contains a guitar solo by May, the song is generally set in a cappella form, using only stomping and clapping as a rhythmic body percussion beat. In 1977, We Will Rock You and We Are the Champions were issued together as a worldwide top 10 single. Soon after the album was released, many radio stations began playing the songs consecutively and without interruption.Since its release, We Will Rock You has been covered, remixed, sampled, parodied, referred to, and used by multiple recording artists, TV shows, films and other media worldwide. It has also become a popular stadium anthem at sports events around the world, due mostly to its simple rhythm. On 7 October 2017, Queen released a Raw Sessions version of the track to celebrate the 40th anniversary of the release of News of the World. It features a radically different approach to the guitar solo and includes May's count-in immediately prior to the recording.Taken from https://en.wikipedia.org/wiki/We_Will_Rock_You
$60.00
Bridge Over Troubled Water
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Orchestra
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INTERMEDIATE
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Simon And Garfunkel
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Kevin Riley
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Bridge Over Troubled Water
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Kevin Riley
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1102019 By Simon And Garfunkel. By Paul Simon. Arranged by Kevin Riley. 20th Century,Pop. Score and p...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1102019 By Simon And Garfunkel. By Paul Simon. Arranged by Kevin Riley. 20th Century,Pop. Score and parts. 58 pages. Kevin Riley #705412. Published by Kevin Riley (A0.1102019). Bridge over Troubled Water is a song by the American folk duo Simon & Garfunkel, released in January 1970 as the second single from their fifth studio album, Bridge over Troubled Water (1970). It was composed by Paul Simon and produced by Simon & Garfunkel and Roy Halee. Bridge over Troubled Water features lead vocals by Art Garfunkel and a piano accompaniment influenced by gospel music, with a Wall of Sound-style production. It was the last song recorded for the album, but the first completed.[5] The instrumentation, provided by the Wrecking Crew, was recorded in California, while Simon and Garfunkel's vocals were recorded in New York. Simon felt Garfunkel should sing solo, an invitation Garfunkel initially declined.Session musician Larry Knechtel performs piano, with Joe Osborn playing bass guitar and Hal Blaine on drums. The song won five awards at the 13th Annual Grammy Awards in 1971, including Grammy Award for Record of the Year and Song of the Year. It is Simon & Garfunkel's most successful single, and it is often considered their signature song; it topped the US Billboard Hot 100 chart for six weeks, and also reached number one in the United Kingdom, Canada, France and New Zealand. It reached the top five in eight other countries, eventually selling over six million copies worldwide. It became one of the most performed songs of the 20th century, covered by over 50 artists, including Elvis Presley, Aretha Franklin and Johnny Cash. It is ranked number 66 on Rolling Stone's 500 Greatest Songs of All Time.
$70.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestra
#
Classical
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestra
#
Classical
#
Claude Debussy
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Arkady Leytush
#
Claude Debussy ‒ Estamp
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Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Hope!
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Orchestra
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Gospel/Spiritual
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Joel Raney
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Hope!
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Hope Publishing - Digital
#
SheetMusicPlus
(Guitar, Hand Drum, Keyboard, Percussion) - Digital Download SKU: H1.8834DP Arranged by Joel Raney. Christmas, Sacred. Set of Instrumental Parts. 728 pag...
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(Guitar, Hand Drum, Keyboard, Percussion) - Digital Download SKU: H1.8834DP Arranged by Joel Raney. Christmas, Sacred. Set of Instrumental Parts. 728 pages. Hope Publishing - Digital #8834DP. Published by Hope Publishing - Digital (H1.8834DP). Christmas Musical Following up on the success of last year's gospel Christmas cantata, Joy!, Joel Raney once again brings his masterful ability to compose new and creative rhythms that showcase his grasp of the gospel style to Hope! The Christmas story unfolds through six compelling choral settings for SATB voices. Scripture readings guide us to the manger and reflect on the promise of hope we find in Christ's birth. Accompaniment can be provided by just piano, or Ed Hogan's lively orchestration, or a smaller set of rhythm parts. Performance time is 25-minutes, making this ideal for fitting into a Christmas worship service or as a separate musical program. Rhythm parts: Conductor's Score, Percussion, Piano, Synth, Guitar/Bass, Capo Guitar (3 songs), Drums and String Reduction for Keyboard. Orchestrations: Conductor's Score, Flute, Oboe (or Soprano Sax* or Clarinet*), Clarinet, 2 Trumpets (or Alto Sax*), Alto Sax, Tenor Sax, 2 Trombones (or Tenor Sax* or Baritone T. C. *), Percussion, Piano, Synth, Guitar/Bass (Capo Guitar on 3 songs*), Drums, Violins 1 and 2, Viola, Cello/Bassoon (or Bass Clarinet*)and String Reduction for Keyboard. *Parts are included on the CD-ROM. The publisher grants permission to the purchaser to print parts from the CD-ROM for use in your church's performance.
$399.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestra
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Classical
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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 - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
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