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Spanish Song
Not classified
233
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101
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74
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58
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47
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33
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11
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6
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3
Piano Trio: piano, violin, cello
3
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1
1 Piano, 4 hands
1
+ 6 instrumentations
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54
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40
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10
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8
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4
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3
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2
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1
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1
Lyrics and Chords
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4 Guitars (Quartet)
1
+ 7 instrumentations
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68
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40
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19
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19
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16
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14
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8
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6
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2
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2
Medium voice, Piano
1
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1
Tenor voice, Piano
1
+ 14 instrumentations
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19
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16
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13
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11
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11
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7
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6
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1
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1
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1
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1
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1
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1
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15
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12
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12
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7
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5
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37
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18
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9
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8
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7
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7
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7
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6
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5
Harp
5
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5
String Quintet: 2 violins, viola, cello, bass
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4
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3
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You've selected:
Spanish Song
Orchestra
Sheetmusic to print
15 sheet music found
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1
Spanish Dance
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Orchestra
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INTERMEDIATE/ADVANCED
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Andrew Wainwright
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Spanish Dance
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Andrew Wainwright
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.890734 Composed by Andrew Wainwright. Contemporary,Multicultural,World. Score and Parts. 69 pages. An...
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Full Orchestra - Level 4 - Digital Download SKU: A0.890734 Composed by Andrew Wainwright. Contemporary,Multicultural,World. Score and Parts. 69 pages. Andrew Wainwright #3010913. Published by Andrew Wainwright (A0.890734). Based on the traditional Spanish song RÃu RÃu ChÃu, this exhilarating foot-tapping item has proved popular with groups around the world and will be an exciting addition to your concert program. Spanish Dance winds up to a whirlwind climax with a respectful nod in the direction of Morley Calvert's Canadian Folk Song Suite - very clever. Paul Hindmarsh, British Bandsman magazine. *Please note the audio file is of the brass band version.
$70.00
Dove
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Orchestra
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INTERMEDIATE
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Contemporary
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Sebastian Yradier and Shan Zha
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Javier MartÃnez Maya
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Dove
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Arte Nova Music Lab
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.742596 Composed by Sebastian Yradier and Shan Zhang. Arranged by Javier MartÃnez Maya. Contemporar...
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Full Orchestra - Level 3 - Digital Download SKU: A0.742596 Composed by Sebastian Yradier and Shan Zhang. Arranged by Javier MartÃnez Maya. Contemporary. Score and parts. 59 pages. Arte Nova Music Lab #6432131. Published by Arte Nova Music Lab (A0.742596). La Paloma, The Dove in English, is a popular Spanish song that has been produced and reinterpreted in diverse cultures, settings, arrangements, and recordings over the last 140 years. The song was composed and written by the Spanish composer from the Basque region Sebastián Iradier (later Yradier) in the 1850s. In 1879, it was registered at the copyright office in Madrid as a Canción Americana con acompañamiento de Piano. Iradier was to die in obscurity within few years, never to learn how popular his song would become.Very quickly, La Paloma became popular outside of Spain, particularly in Mexico, and soon spread around the world. In many places, including Afghanistan, Cuba, Colombia, Hawaii, the Philippines, Germany, Romania, Venezuela, Zanzibar, and Goa it gained the status of a quasi-folk song. Over the years, the popularity of La Paloma has surged and receded periodically, but never subsided. It may be considered one of the first universal popular hits and has appealed to artists of diverse musical backgrounds. There are more than one thousand versions of this song, and together with Yesterday by The Beatles, is one of the most-recorded songs in the history of music; it is certainly the most-recorded Spanish song.Taken from https://en.wikipedia.org/wiki/La_Paloma
$60.00
Enrique Granados - Six pieces on Spanish folk songs, Orchestrated by Arkady Leytush
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Orchestra
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Classical
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Enrique Granados
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Arkady Leytush
#
Enrique Granados - Six pieces
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008379 Composed by Enrique Granados. Arranged by Arkady Leytush. 20th Century. Score and parts. 176 pages. Ark...
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Full Orchestra - Digital Download SKU: A0.1008379 Composed by Enrique Granados. Arranged by Arkady Leytush. 20th Century. Score and parts. 176 pages. Arkady Leytush #5741673. Published by Arkady Leytush (A0.1008379). Preludio, Añoranza, Ecos de la parranda, Vascongada, Marcha oriental, Zambra, ZapateadoThe total duration of the entire cycle is 25 minutes.This suite could perfectly diversify and decorate a number of symphonic programs, which certainly expands the existing standard repertoire of academic music. I also hope to find the interest and empathy of choreographers/directors to create a new ballet divertisment.
$60.00
The Girl from Guatemala
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Orchestra
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INTERMEDIATE/ADVANCED
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David Chesky
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The Girl from Guatemala
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Pamaluc Music
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.882378 Composed by David Chesky. Contemporary,Latin. Score and parts. 129 pages. Pamaluc Music #18539...
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Full Orchestra - Level 4 - Digital Download SKU: A0.882378 Composed by David Chesky. Contemporary,Latin. Score and parts. 129 pages. Pamaluc Music #18539. Published by Pamaluc Music (A0.882378). From the composers Spanish Songs set. David Chesky sets Jose Marti's Poem No.9 The Girl From Guatemala to music. A lyrical work for soprano sung in English. Can be heard on the composers web site. Duration 7:33 min 2fl./ 2ob./ 2cl./ 2bs/ 4 perc./ harp / strings/ soprano soloist.
$24.98
The Romance of Love
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Orchestra
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ADVANCED
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David Chesky
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The Romance of Love
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Pamaluc Music
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.882379 Composed by David Chesky. Contemporary,Latin. Score and parts. 125 pages. Pamaluc Music #18551...
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Full Orchestra - Level 5 - Digital Download SKU: A0.882379 Composed by David Chesky. Contemporary,Latin. Score and parts. 125 pages. Pamaluc Music #18551. Published by Pamaluc Music (A0.882379). From the composers Spanish song set. This is a Latin flavored lyrical and rhythmic work for soprano and orchestra. Duration 5:20 min 2fl./ 2ob./ 2cl./ 2bs/ 4 perc./ harp/ strings/ soprano solo.
$24.98
Jamin Hoffman: Peasant Songs (COMPLETE) - orchestra
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Orchestra
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INTERMEDIATE
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Jamin Hoffman
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Virtualsheetmusic
Instantly printable sheet music by Jamin Hoffman for orchestra of MEDIUM skill level. / folk,spanish,renaissance
Instantly printable sheet music by Jamin Hoffman for orchestra of MEDIUM skill level. / folk,spanish,renaissance
$43.99
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestra
#
Classical
#
Claude Debussy
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Arkady Leytush
#
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
#
Classical
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Claude Debussy
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Arkady Leytush
#
Claude Debussy ‒ Estamp
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Arkady Leytush
#
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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Orchestra
#
Classical
#
Claude Debussy
#
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
España Cañí - Pasodoble - Espana Cani
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Orchestra
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INTERMEDIATE
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Pascual Marquina Narro
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Pablo Guerrero-MartÃn
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España Cañí - Pasodoble - E
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Pablo Guerrero-MartÃn
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1211732 Composed by Pascual Marquina Narro. Arranged by Pablo Guerrero-MartÃn. Classical,Contest,F...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1211732 Composed by Pascual Marquina Narro. Arranged by Pablo Guerrero-MartÃn. Classical,Contest,Festival,Folk,March,Multicultural,World. Score and Parts. 51 pages. Pablo Guerrero-MartÃn #809346. Published by Pablo Guerrero-MartÃn (A0.1211732). España cañà (meaning Gypsy Spain in Spanish) is a famous instrumental Spanish piece of pasodoble music by Pascual Marquina Narro (1873–1948). The song was written around 1923 and first recorded in 1926. Its main refrain (eight bars of arpeggiated chords that go from E major to F major (with added 4 instead of 5) to G major and back) is arguably the best known snippet of Spanish music and is popular worldwide.Several arrangements of the tune are often used for the Latin Paso Doble dance (to the point that, among Latin dancers, it is known as the paso doble song as it is very commonly played in competition due to the common custom for the choreography to match the phrasing and accents of the music for the full effect of the dance). The song has also been used as the theme song for Pablo Sanchez in the Backyard Sports games.
$49.99
EL VITO (Score and Parts)
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Orchestra
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INTERMEDIATE
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Folkloric/Traditional
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Spanish Folk Song
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arrange by Oleksiy Bazhenov
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EL VITO
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Oleksiy Bazhenov
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1276362 Composed by Spanish Folk Song. Arranged by arrange by Oleksiy Bazhenov. Folk. Score and Parts...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1276362 Composed by Spanish Folk Song. Arranged by arrange by Oleksiy Bazhenov. Folk. Score and Parts. 86 pages. Oleksiy Bazhenov #868096. Published by Oleksiy Bazhenov (A0.1276362). EL VITO - Â Traditional Andalusian folk song and danceArrange for soprano and Acoustic Gyitar with symphonic orchestra by Oleksiy Bazhenov.
$40.00
Amor Eterno (el Mas Triste Recuerdo)
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Orchestra
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INTERMEDIATE/ADVANCED
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Juan Gabriel
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Alfredo Carrasco Sánchez
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Amor Eterno
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Alfredo Carrasco Sánchez
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1164520 By Juan Gabriel. By Juan Gabriel. Arranged by Alfredo Carrasco Sánchez. 20th Century,Holid...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1164520 By Juan Gabriel. By Juan Gabriel. Arranged by Alfredo Carrasco Sánchez. 20th Century,Holiday,Latin,Multicultural,Traditional,World. Score and parts. 50 pages. Alfredo Carrasco Sánchez #764852. Published by Alfredo Carrasco Sánchez (A0.1164520). Uno de los temas más conocidos del cantautor mexicano Juan Gabriel, tambien fue interpretado por la cantante española Rocio Durcal.Este arreglo para orquesta es muy melódico e impacta mucho en la audiencia, especialmente se interpreta para el dia de las madres.FelÃz dia Mamá!EnglishOne of the best-known songs by the Mexican singer-songwriter Juan Gabriel, was also performed by the Spanish singer Rocio Durcal.This arrangement for orchestra is very melodic and has a great impact on the audience, especially when interpreted for Mother's Day.Happy day Mom!
$59.99
Feliz Navidad
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Orchestra
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EASY
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Jose Feliciano
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Kevin Riley
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Feliz Navidad
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Kevin Riley
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SheetMusicPlus
Full Orchestra - Level 2 - Digital Download SKU: A0.1495590 By Jose Feliciano. By Jose Feliciano. Arranged by Kevin Riley. 20th Century,Christmas,Pop. 64...
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Full Orchestra - Level 2 - Digital Download SKU: A0.1495590 By Jose Feliciano. By Jose Feliciano. Arranged by Kevin Riley. 20th Century,Christmas,Pop. 64 pages. Kevin Riley #1072107. Published by Kevin Riley (A0.1495590). Feliz Navidad is a Christmas song written and first recorded in 1970 by Puerto Rican singer-songwriter José Feliciano. With its simple, heartfelt lyrics - the traditional Spanish Christmas/New Year greeting Feliz Navidad, próspero año y felicidad (Merry Christmas, a prosperous year and happiness), followed by text in English words I wanna wish you a Merry Christmas from the bottom of my heart - it has become a Christmas classic and has gained popularity around the world.In 2010, the 1970 recording of Feliz Navidad on RCA Victor Records by José Felicianowas inducted into the Grammy Hall of Fame.
$70.00
Pour Una Cabeza
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Orchestra
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INTERMEDIATE/ADVANCED
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Mahamed Amine Bouguenna
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Marek Czekala
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Pour Una Cabeza
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Marek Czekala
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1193450 Composed by Mahamed Amine Bouguenna. Arranged by Marek Czekala. Film/TV,Latin. Score and Part...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1193450 Composed by Mahamed Amine Bouguenna. Arranged by Marek Czekala. Film/TV,Latin. Score and Parts. 33 pages. Marek Czekala #792913. Published by Marek Czekala (A0.1193450). Por una Cabeza is a tango song written in 1935 with music by Carlos Gardel and lyrics by Alfredo Le Pera. The name is a Spanish horse-racing phrase meaning by a head, which refers to a horse winning a race narrowly – by just the length of its head. The lyrics speak of a compulsive horse-track gambler who compares his addiction for horses with his attraction to women. Alfredo Le Pera was born in Brazil, son of Italian immigrants. Le Pera and Gardel died in an aeroplane crash in MedellÃn, on Monday, June 24, 1935. Por Una Cabeza is featured in a famous tango scene in Martin Brest's film Scent of a Woman (1992), in the opening scene of Steven Spielberg's Schindler's List (1993) and in James Cameron's True Lies (1994). Wikipedia.
$50.00
Peasant Songs - Full Score
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Orchestra
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Jamin Hoffman
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Renaissance
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Peasant Songs - Full Score
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Arranged by Jamin Hoffman. Orchestra. Folk; Renaissance; Spanish. Full score. 12 pages. Duration 3:40. Published by Hal Leonard - Digital Sheet Music...
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Arranged by Jamin Hoffman. Orchestra. Folk; Renaissance; Spanish. Full score. 12 pages. Duration 3:40. Published by Hal Leonard - Digital Sheet Music
$5.00
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