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Opening Night - Bass
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Opening Night - Bass
SheetMusicPlus
Orchestra
Sheetmusic to print
18 sheet music found
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1
Voices of the Night - orchestra
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Orchestra
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ADVANCED
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Richard E Brown
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2
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Voices of the Night - orchestr
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Dacker Music
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.814789 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 175 pages. Dacker Music ...
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Full Orchestra - Level 5 - Digital Download SKU: A0.814789 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 175 pages. Dacker Music #4302031. Published by Dacker Music (A0.814789). Voices of the Night, subtitled A Nocturnal Fantasy for Orchestra, is in 3 parts: 1. a slow, moody introductory section; 2. a lively but somewhat dark rhythmic dance-like section; 3. a quiet epilogue based on the opening music.
$65.00
O Holy Night - Orchestral Score and Parts
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Orchestra
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Sacred music
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Thomas Fettke
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SABâ??65/2059L).
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O Holy Night - Orchestral Scor
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - Digital Download SKU: LX.30-3258L Arranged by Thomas Fettke. Sacred Anthem, Christmas. Orchestral Score and Parts. 20 pages. Lorenz Publ...
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Full Orchestra - Digital Download SKU: LX.30-3258L Arranged by Thomas Fettke. Sacred Anthem, Christmas. Orchestral Score and Parts. 20 pages. Lorenz Publishing - Digital Sheet Music #e30/3258L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3258L). Captivating, easy to prepare, and hard to forget, this captivating arrangement of a Christmas standard is a versatile choice for seasonal performances. Varied textures showcase your singers as the music moves from a unison opening through passages of call and response and a four-part exclamation: Fall on your knees! (From the cantata The Christmas Story, SATBâ??65/2058L; SABâ??65/2059L).
$69.95
Opening Night: Flute
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Orchestra
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Opening Night: Flute
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - Digital Download SKU: AX.00-PC-0019084_F1 Instructional. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_F1. Published by Alf...
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Full Orchestra - Digital Download SKU: AX.00-PC-0019084_F1 Instructional. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_F1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0019084_F1). UPC: 038081579269.
$3.00
Opening Night: Baritone T.C.
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Orchestra
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Opening Night: Baritone T.C.
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - Digital Download SKU: AX.00-PC-0019084_BTC1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_BTC1. Published by...
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Full Orchestra - Digital Download SKU: AX.00-PC-0019084_BTC1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_BTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0019084_BTC1). UPC: 038081579269.
$3.00
Opening Night: Mallets
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Orchestra
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Opening Night: Mallets
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - Digital Download SKU: AX.00-PC-0019084_M1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_M1. Published by Alf...
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Full Orchestra - Digital Download SKU: AX.00-PC-0019084_M1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0019084_M1). UPC: 038081579269.
$3.00
Opening Night: Baritone B.C.
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Orchestra
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Opening Night: Baritone B.C.
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - Digital Download SKU: AX.00-PC-0019084_BBC1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_BBC1. Published by...
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Full Orchestra - Digital Download SKU: AX.00-PC-0019084_BBC1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_BBC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0019084_BBC1). UPC: 038081579269.
$3.00
Opening Night: Cello
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Orchestra
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Opening Night: Cello
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - Digital Download SKU: AX.00-PC-0019084_VC1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_VC1. Published by A...
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Full Orchestra - Digital Download SKU: AX.00-PC-0019084_VC1 Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_VC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0019084_VC1). UPC: 038081579269.
$3.00
Opening Night: Timpani
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Orchestra
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Opening Night: Timpani
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - Digital Download SKU: AX.00-PC-0019084_TMP Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_TMP. Published by A...
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Full Orchestra - Digital Download SKU: AX.00-PC-0019084_TMP Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019084_TMP. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0019084_TMP). UPC: 038081579269.
$3.00
Opening Night: Score
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Orchestra
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Opening Night: Score
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - Digital Download SKU: AX.00-PR-0007324 Instructional. Score. 28 pages. Alfred Music - Digital Sheet Music #00-PR-0007324. Published by A...
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Full Orchestra - Digital Download SKU: AX.00-PR-0007324 Instructional. Score. 28 pages. Alfred Music - Digital Sheet Music #00-PR-0007324. Published by Alfred Music - Digital Sheet Music (AX.00-PR-0007324). UPC: 038081579269.
$12.00
A Hard Day's Night - Beatles for Orchestra
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Orchestra
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INTERMEDIATE
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Rock
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The Beatles
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Javier Martínez Maya
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A Hard Day's Night - Beatles f
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Arte Nova Music Lab
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SheetMusicPlus
Full Orchestra, String Orchestra - Intermediate - Digital Download By The Beatles. Arranged by Javier Martínez Maya. Score, Set of Parts. 41 pag...
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Full Orchestra, String Orchestra - Intermediate - Digital Download By The Beatles. Arranged by Javier Martínez Maya. Score, Set of Parts. 41 pages. Published by Arte Nova Music Lab
A Hard Day's Night is the third studio album by the English rock band the Beatles, released on 10 July 1964 by Parlophone, with side one containing songs from the soundtrack to their film of the same name. The American version of the album was released two weeks earlier, on 26 June 1964 by United Artists Records, with a different track listing. In contrast to the Beatles' first two albums, all 13 tracks on A Hard Day's Night were written by John Lennon and Paul McCartney, showcasing the development of their songwriting partnership.
The album includes the song "A Hard Day's Night", with its distinctive opening chord, and "Can't Buy Me Love", both transatlantic number-one singles for the band. Several of the songs feature George Harrison playing a Rickenbacker 12-string electric guitar, a sound that was influential on the Byrds and other groups in the folk rock movement.
$60.00
Have You Heard? - Set of Parts (Digital Download)
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Orchestra
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Christmas
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Joel Raney
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Away in a Manger
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Have You Heard? - Set of Parts
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Instrumental Parts, Full Orchestra - Digital Download SKU: LX.30-3732L A Celtic Christmas Celebration. Composed by Joel Raney. Choral Cantatas. Ad...
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Instrumental Parts, Full Orchestra - Digital Download SKU: LX.30-3732L A Celtic Christmas Celebration. Composed by Joel Raney. Choral Cantatas. Advent, Christmas. Set of Parts (Digital Download). 481 pages. Lorenz Publishing - Digital Sheet Music #e30/3732L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3732L). Orchestrated by Ed Hogan.Digital Set of Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!
$249.95
Christmas Morning Overture (Full Orchestra)
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Orchestra
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INTERMEDIATE/ADVANCED
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Christmas
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Sam Cardon
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Garrett Breeze
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Christmas Morning Overture
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Lagom Music
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.723434 Composed by Sam Cardon. Arranged by Garrett Breeze. Christmas,Hanukkah,Holiday. Score and part...
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Full Orchestra - Level 4 - Digital Download SKU: A0.723434 Composed by Sam Cardon. Arranged by Garrett Breeze. Christmas,Hanukkah,Holiday. Score and parts. 172 pages. Lagom Music #6231771. Published by Lagom Music (A0.723434). The magic of Christmas is brought to life in this suite of original music by Emmy-winning composer Sam Cardon. From the stillness of night to the excitement of opening presents to the rush of Santa's sleigh, the piece is an unforgettable holiday tour de force. Grade 5-6Visit https://garrettbreeze.com to read my blog and discover new music!
$125.00
The Manger
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Orchestra
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INTERMEDIATE/ADVANCED
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Sacred music
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Christmas
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Public Domain
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Greg Engell
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The Manger
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Greg Engell
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.973004 Composed by Public Domain. Arranged by Greg Engell. Christian,Christmas,Sacred. Score and part...
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Full Orchestra - Level 4 - Digital Download SKU: A0.973004 Composed by Public Domain. Arranged by Greg Engell. Christian,Christmas,Sacred. Score and parts. 76 pages. Greg Engell #4363578. Published by Greg Engell (A0.973004). This Orchestra Solo is based on the choral arrangement Carols of the Manger. Gently opening with the carol Infant Holy, Infant Lowly this piece builds to a climax as it combines the melodies of Silent Night and Away in a Manger together. A perfect addition to your Christmas service or presentation.Instruments:
$45.00
Bramshill Concert Rondo
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Orchestra
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INTERMEDIATE
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Contemporary
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Stephen Lines
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Bramshill Concert Rondo
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Stephen Lines
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.957733 Composed by Stephen Lines. Contemporary. Score and parts. 99 pages. Stephen Lines #26285. Publ...
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Full Orchestra - Level 3 - Digital Download SKU: A0.957733 Composed by Stephen Lines. Contemporary. Score and parts. 99 pages. Stephen Lines #26285. Published by Stephen Lines (A0.957733). Bramshill was written to commemorate the 50th anniversary of the police staff college and was premiered by the British Police Symphony Orchestra in 2008. In 2011 it undertook some quite serious revision. Bramshill House was until recently the home of the Police Staff College. In 1953 the Home Office purchased Bramshill from Lord Brocket. There is evidence that the site has been inhabited since the time of Domesday and the Norman Conquest. The present building was constructed principally by Edward Zouche, 11th Baron Zouche of Harringworth, between c. 1605-1625. The music is written in large ternary form as a concert rondo. There are features within which depict and draw together various facets of the early history of Bramshill House as a Jacobean structure with that of its current role as the police staff college. After a declamatory eighteen bar opening in the key of C minor the piece leads towards the principal theme - it is introduced by the horn, quietly accompanied by chords from the clarinets dipping in and out of the chalumeau register - a haunting, ethereal theme that depicts the mystery of the ancient building and its numerous reported wraiths. The theme develops and is pronounced giacoso in the strings with light accompaniment in the higher woodwinds. A restatement of the main theme is followed by a section, fugato; this depicts a police officer on the beat in the early hours of a cold, wet, winter’s night. This theme transmutes into a quasi-stately dance such as may have been performed in Bramshill’s great withdrawing room or the long gallery in the 1600’s. A series of 6/3 chords then develop into what sounds akin to a police siren; the section culminates in a wash of sound with police theme, stately dance and siren sounding simultaneously. In the final section, the principal theme is reiterated in various guises and sub-themes are further explored.
$22.50
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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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: A0.1008374 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. 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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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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: A0.1008375 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
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