Home page
Browse Free-scores.com
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
Third Suite
Not classified
123
Piano & keyboards
Piano solo
67
Easy Piano
5
Organ, Piano (duet)
4
Organ
4
Piano Quintet: piano, 2 violins, viola, cello
2
Piano, Voice
2
Piano Trio: piano, violin, cello
1
Piano, Vocal and Guitar
1
C Instruments
1
Piano Quartet: piano, violin, viola, cello
1
+ 5 instrumentations
-
Retract
Guitars
Guitar
17
Guitar notes and tablatures
3
4 Guitars (Quartet)
1
2 Guitars (duet)
1
Voice
Choral SATB
17
Choral TTBB
5
Choral 3-part
4
Choral Unison
2
Alto voice, Piano
1
Choral SSATB
1
Choral 2-part
1
Choral
1
+ 3 instrumentations
-
Retract
Woodwind
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
24
Saxophone Quartet: 4 saxophones
23
2 Saxophones (duet)
15
Clarinet Quartet: 4 clarinets
15
Clarinet and Piano
9
Clarinet (band part)
8
3 Saxophones (trio)
8
Saxophone (band part)
7
Flute, Oboe, Clarinet, Bassoon
7
Flute and Piano
7
Saxophone Quintet: 5 Saxophones
6
2 Clarinets (duet)
5
Saxophone, Clarinet (duet)
5
Flute ensemble
5
Clarinet, Trumpet (duet)
4
Clarinet, Violin (duet)
4
2 Flutes (duet)
4
Clarinet Quintet: 5 clarinets
4
Oboe, Piano (duet)
4
Saxophone ensemble
4
Flute Quartet: 4 flutes
4
Flute, Clarinet (duet)
3
Flute, Oboe, Clarinet (trio)
3
Flute Trio: 3 flutes
3
Tenor Saxophone and Piano
3
Oboe, Bassoon (duet)
3
Alto Saxophone and Piano
3
Clarinet and Viola
2
2 Oboes (duet)
2
Oboe, Clarinet (duet)
2
Flute (band part)
2
Flute, Saxophone (duet)
2
English horn, Piano
2
Flute, Viola (duet)
2
3 Recorders (trio)
2
Oboe (band part)
2
Flute Quintet : 5 flutes
2
Bass Clarinet, Piano
2
Flute, Trumpet (duet)
2
3 Clarinets (trio)
2
Baritone Saxophone, Piano
2
Recorder Ensemble
2
Bass Clarinet
1
Piccolo
1
Clarinet Quintet: Clarinet, String Quartet
1
Oboe, Violin, Viola and Violoncello (Quartet)
1
Flute and Strings Trio
1
Clarinet, Bassoon (duet)
1
Oboe, Flute
1
Oboe ensemble
1
Recorder Quartet
1
Flute
1
2 Recorders (duet)
1
Clarinet
1
Clarinet Quartet: Clarinet, Violin, Viola, Cello
1
Flute, Viola and Piano
1
Saxophone and Guitar
1
Flute, Violin, Piano
1
Clarinet, Harp (duet)
1
Soprano Saxophone and Piano
1
Flute and Guitar
1
Oboe, Harp
1
Alto Saxophone
1
Oboe
1
+ 59 instrumentations
-
Retract
Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba
12
Brass quartet : 2 trumpets, trombone, tuba
9
Trombone (band part)
5
Trumpet
5
French Horn and Piano
4
Trumpet, Saxophone (duet)
4
Tuba and Piano
4
2 Trumpets (duet)
4
Trumpet, Piano
4
Trombone and Piano
4
Trombone, Organ
3
2 Trombones (duet)
3
Cornet
3
Trumpet, Trombone (duet)
3
French horn
3
Euphonium, Piano (duet)
2
Tuba
2
English horn, Piano
2
Trumpet, Horn (duert)
2
Brass Quartet: 4 trombones
2
French horn (band part)
1
3 Tubas (trio)
1
Trombone ensemble
1
Horn Ensemble
1
2 French horns (duet)
1
Trumpet (band part)
1
Brass Quartet: 4 horns
1
Brass Quartet: 4 trumpets
1
3 French horns (trio)
1
3 Trombones (trio)
1
Tuba (band part)
1
+ 26 instrumentations
-
Retract
Strings
String Quartet: 2 violins, viola, cello
22
Violin and Piano
10
Violin, Viola (duet)
6
Violin, Cello (duet)
5
String Trio: violin, viola, cello
4
Cello
3
String Trio: 2 violins, cello
3
2 Violas (duet)
3
Violin (band part)
2
Cello, Piano
2
2 Cellos (duet)
2
Violin
2
Doublebass (band part)
2
Harp, Flute (duet)
2
Double bass, Piano (duet)
2
Harp
2
Cello (band part)
1
Viola, Piano
1
2 Violins (duet)
1
Viola, Cello (duet)
1
String Trio: 3 violins
1
Violin, Guitar (duet)
1
String Quintet: 2 violins, viola, cello, bass
1
Harp and Piano
1
Viola (band part)
1
+ 20 instrumentations
-
Retract
Orchestra & Percussion
Concert band
128
Orchestra
13
String Orchestra
10
Percussion (band part)
5
Chamber Orchestra
4
Brass ensemble
4
Timpani (band part)
2
Jazz combo
1
Percussion Ensemble
1
+ 4 instrumentations
-
Retract
Others
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
$
$
EUR €
USD $
GBP £
CAD $
CNY ¥
Français
Free Sheet Music
2
Digital Sheet Music
13
Sheet Music Books
6
Music Equipment
28
Digital scores
(access after purchase)
Post mailing
Digital sheet music
← INSTRUMENTATIONS
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
You've selected:
Third Suite
Orchestra
Sheetmusic to print
13 sheet music found
<
1
Epiphanies. Third movement of the Orchestral Suite 'Heliodorus'
#
Orchestra
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Marcus Mota
#
Epiphanies. Third movement of
#
Marcus Mota
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1028490 Composed by Marcus Mota. Contemporary. Score and parts. 28 pages. Marcus Mota #3539063. Publi...
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.1028490 Composed by Marcus Mota. Contemporary. Score and parts. 28 pages. Marcus Mota #3539063. Published by Marcus Mota (A0.1028490). This piece is part of the Heliodorus'Suite.Heliodorus' Suite is composed of seven pieces or movements all based on Aithiopika's Heliodorus novel.In this piece, we are experiencing the complex emotions of the pirates: They think they are seeing a goodness. A mix of fear and wonderment assault them. They run. All these emotions and movements are translated by quick scales and texture. In fact, the pirates, like us, don't know what is happening: in front of them, there is a shipwreck, rests of a banquet, corpses, and a couple - a beautiful woman that looks like Artemis and a wounded man at her feet.
$5.00
Sarabande - (from 'Keyboard Suite in D minor' - III. Mov.) for Orchestra
#
Orchestra
#
INTERMEDIATE
#
George Frideric Handel
#
Flavio Regis Cunha
#
Sarabande -
#
Flavio Regis Cunha
#
SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.597316 By George Frideric Handel. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,...
(+)
Full Orchestra - Level 3 - Digital Download SKU: A0.597316 By George Frideric Handel. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 15 pages. Flavio Regis Cunha #5355195. Published by Flavio Regis Cunha (A0.597316). The Keyboard suite in D minor (HWV 437) was composed by George Frideric Händel, for solo keyboard (harpsichord), between 1703 and 1706. It is also referred to as Suite de pièce Vol. 2 No. 4. It was first published in 1733.The piece was used in an orchestral arrangement for Stanley Kubrick's Barry Lyndon. Dutch singer Petra Berger used the Sarabande as the musical setting for her song about Mary, Queen of Scots, Still a Queen (In My End Is My Beginning), from her album Eternal Woman (2001). An orchestral version was also used on the first episode of the 2018 television mini-series of Agatha Christie's A.B.C. Murders, starring John Malkovich as Poirot.This beautiful arrangement for orchestra brings in its variations, an intercalation of orchestral forces and different climaxes. The first part of the theme starts on the strings accompanied by the continuum. The second part includes the metals and the tympani. In the first variation, the theme is played by a group of strings, within a chamber proposal. In the third variation, the strings give way to the woodwinds, where horns, trombones talk to the woodwinds. In the fourth variation, the same group of winds remains, but they are accompanied by the ow strings. Finally, in the last variation, the orchestral force appears with brilliance and intensity.
$19.99
Dances from the Opera "On the Wings of the Scarlet Messenger" Suite for Orchestra
#
Orchestra
#
INTERMEDIATE/ADVANCED
#
James Nathaniel Holland
#
Dances from the Opera "On the
#
James Nathaniel Holland
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.730404 Composed by James Nathaniel Holland. Contemporary,Holiday,Musical/Show,Opera. Score and parts....
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.730404 Composed by James Nathaniel Holland. Contemporary,Holiday,Musical/Show,Opera. Score and parts. 160 pages. James Nathaniel Holland #3218589. Published by James Nathaniel Holland (A0.730404). A suite in four movements for orchestra taken from the contemporary opera On the Wings of the Scarlet Messenger by American Costa Rican composer James Nathaniel Holland. The first, Dance of the Spirits is a percussionists dream evoking Southeast Asian flavor and energy. The second movement The Party: Intermezzo is a popular dance type of driving beat. The suite slows with the third movement with the haunting The Party: Art Imitates Life and a recap of the Spanish chorus here arranged for orchestra Bailen, Canten, Que Noche Bonita Perfect for New Year's Eve or New Year's Day concert. Use with the arrangement Bailen, Canten Que Noche Bonita with chorus or any of the stand alone arias from the opera. YouTube video presentation: https://youtu.be/QHzyUfKLI9MDuration 14:02 minutes.Instrumentation: picc, 12fl, 12ob, eh, 12cl, bcl, ts, 12bsn, 1234 hrn, 12 trp, trmb, btrmb, tim, perc( snare, hand cym, bd, ride cym with mallets, large gong, sm. gong, claves, castanets, tam., mid tom, tri., high hat) hrp, and stringsFull score in concert pitch with individual parts included. Full opera orchestral score and piano vocal score sold separately.Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html .
$21.95
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
#
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...
(+)
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
#
Orchestra
#
Classical
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
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...
(+)
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
#
Orchestra
#
Classical
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
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...
(+)
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
Rose Of Arimathea
#
Orchestra
#
EASY
#
Hans Zimmer
#
Kevin Riley
#
Rose Of Arimathea
#
Kevin Riley
#
SheetMusicPlus
Full Orchestra - Level 2 - Digital Download SKU: A0.1400061 Composed by Hans Zimmer. Arranged by Kevin Riley. 20th Century,Film/TV. 34 pages. Kevin Riley...
(+)
Full Orchestra - Level 2 - Digital Download SKU: A0.1400061 Composed by Hans Zimmer. Arranged by Kevin Riley. 20th Century,Film/TV. 34 pages. Kevin Riley #983291. Published by Kevin Riley (A0.1400061). Third part of the film suite. The first half is played when Silas recalls his dark memories at the doors of Eglise Saint-Sulpice.
$50.00
2 Andean Airs (Orchestra)
#
Orchestra
#
EASY
#
Edgar F Girtain IV
#
2 Andean Airs
#
Edgar F. Girtain IV
#
SheetMusicPlus
Full Orchestra - Level 2 - Digital Download SKU: A0.1369579 Composed by Edgar F Girtain IV. Contemporary,Contest,Festival,Multicultural,World. 54 pages. ...
(+)
Full Orchestra - Level 2 - Digital Download SKU: A0.1369579 Composed by Edgar F Girtain IV. Contemporary,Contest,Festival,Multicultural,World. 54 pages. Edgar F. Girtain IV #953945. Published by Edgar F. Girtain IV (A0.1369579). Since relocating to Southern Chile in 2016, composer Edgar Girtain has been immersed in the music of hisadopted home, frequently performing with folk musicians in rural areas through the Los Lagos region. Two Andean Airs draws on a folkmusic style native to northern Chile (cultures of the Andean Plateau). The first piece was drawn from the third of composer's well-known Trios for Flute, Violin and Cello, while the second comes from a suite of Huaynos composed and arranged for a latin-american orchestra of students that the composer co-directs in Puerto Montt. Both are outdoor style pieces, typical of what might be heard performed by brass or pan-flute bands at religious festivals in the deserts of northern Chile.
$80.00
Redeemer, III: Miracles and Transfiguration
#
Orchestra
#
INTERMEDIATE/ADVANCED
#
Sean Mortensen
#
Redeemer, III: Miracles and Tr
#
Sean Mortensen
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1023946 Composed by Sean Mortensen. Easter,Sacred,Spiritual. Score and Parts. 10 pages. Sean Mortense...
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.1023946 Composed by Sean Mortensen. Easter,Sacred,Spiritual. Score and Parts. 10 pages. Sean Mortensen #2021531. Published by Sean Mortensen (A0.1023946). This is the third of a 7 Movement Suite composed to celebrate the life and teachings of Jesus Christ.
$19.99
Delius: La Calinda (from Koanga) for Orchestra
#
Orchestra
#
ADVANCED
#
Frederick Delius
#
Flavio Regis Cunha
#
Delius: La Calinda
#
Flavio Regis Cunha
#
SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1308584 By Frederick Delius. By Frederick Delius. Arranged by Flavio Regis Cunha. 19th Century,Classi...
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1308584 By Frederick Delius. By Frederick Delius. Arranged by Flavio Regis Cunha. 19th Century,Classical,Contest,Festival,Film/TV. Score and Parts. 26 pages. Flavio Regis Cunha #897825. Published by Flavio Regis Cunha (A0.1308584). Another of Delius’s best-known works falls into the same category as The Walk to the Paradise Garden, being an interlude from an opera that is now rarely heard in full. Koanga predates A Village Romeo and Juliet by just four years and comes from the composer’s Bohemian years in Paris during the 1890s. Delius himself considered it his best opera to date. It was his third after Irmelin and The Magic Fountain and it drew on his experiences in the orange groves of Florida. The hero of the opera, Koanga, is an African prince and voodoo priest, now working as a slave on a Mississippi plantation. Delius incorporated a traditional Martinique dance from the seventeenth century into the plot, for which he wrote a small musical interlude, borrowing from something he had written earlier in his first orchestral work, the Florida Suite. When his trusty companion and scribe Eric Fenby arranged the interlude for orchestra in 1938 – some forty years later – it quickly became another hardy perennial on concert programmes up and down the land.
$49.99
III. Charlie Chaplin leaves by Train
#
Orchestra
#
INTERMEDIATE
#
Yevgeny Yamshanov
#
III. Charlie Chaplin leaves by
#
Evgeny Yamshanov
#
SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1342561 Composed by Yevgeny Yamshanov. 20th Century,21st Century,Children,Classical,Comedy. 7 pages. ...
(+)
Full Orchestra - Level 3 - Digital Download SKU: A0.1342561 Composed by Yevgeny Yamshanov. 20th Century,21st Century,Children,Classical,Comedy. 7 pages. Evgeny Yamshanov #928059. Published by Evgeny Yamshanov (A0.1342561). Third movement from the Charlie Chaplin suite. Score only.
$9.99
Marche Militaire no 1, - school orchestra
#
Orchestra
#
INTERMEDIATE
#
Classical
#
Franz Schubert
#
Brett Thompson
#
Marche Militaire no 1, - schoo
#
Brett Thompson
#
SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.851547 Composed by Franz Schubert. Arranged by Brett Thompson. Romantic Period. Score and parts. 32 p...
(+)
Full Orchestra - Level 3 - Digital Download SKU: A0.851547 Composed by Franz Schubert. Arranged by Brett Thompson. Romantic Period. Score and parts. 32 pages. Brett Thompson #3503535. Published by Brett Thompson (A0.851547). Marche Militaire no 1 is one of Schubert’s best known melodies. It was originally published in 1826 as a piano duet and has since been arranged in numerous ways. This (level 2) arrangement is suited for a school orchestra and includes an alto saxophone and third trumpet alternative for the French Horn Part.
$34.95
Elegy Sentimentale for Orchestra
#
Orchestra
#
Keith Terrett
#
Elegy Sentimentale for Orchest
#
Keith Terrett
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.746748 Composed by Keith Terrett. Contemporary,World. 33 pages. Keith Terrett #3129265. Published by Keith Terr...
(+)
Full Orchestra - Digital Download SKU: A0.746748 Composed by Keith Terrett. Contemporary,World. 33 pages. Keith Terrett #3129265. Published by Keith Terrett (A0.746748). ere at last is my ’’Elegy sentimentale’’ for orchestra, and my first original composition (opus 1), for full symphony orchestra.I hope it makes an excellent piece for amateur and professional orchestras alike; with some challenging and interesting string, woodwind and brass writing for all.I envisage the ’’Elegy’’ eventually making a good piece of film music, and in consequence any directors or producers looking for a movie theme; please feel free to contact me!Elegy Sentimenatle is a mournful & melancholic work, suited for performances on the concert platform.A Supreme Work of Art!The Elegy Sentimentale opens impressively. Keith Terrett plants a C deep in virgin soil; orchestrated brilliantly for bassoon, harp and delineated by pizzicato double basses this bass line is a tree of a forest; and we are at once held by the strength of the roots. The tonality is immediately clear, and there is a grand feeling of space and power in the wide layout of the score. A lone solo clarinet high in the tessitura accompanied by a solo cello with a counter subject state the opening eight bar theme which embodies the seeds of two ideas, which supplies the generating force for the slightly agitated Piu Mosso which follows. The counter subject given by the solo cello at the beginning is now reiterated by the plaintive voice of a solo oboe and a third motif makes an appearance in the solo clarinet; oboe and clarinet duet beautifully over arpeggiated rhythmic impulses in the harp. A new subject of an accompanying nature, derived from all the material thus far presented now comes off at a tangent on the strings cascading downwards and accompanying woodwind who, play the chief melodic subject while horns cry in anguish. This first section is then repeated; I found the whole experience spiritual, detached and wondering, intensified by the breath-taking stillness. Mr Terrett in the middle section that follows now uses his full orchestral forces; after a key change the emotional charge that follows is cataclysmic in its cry of anguish; the main theme is stated in a full dress orchestral tutti, which is then repeated. The music ebbs and flows with slight variations in the woodwind recalling the main ideas; at the very end high strings bring consolation and finally peace. Keith Terrett shows an admirable command of orchestration and melodic construction and combines these qualities with rare imagination and insight.Gerald Manning
$30.00
<
1
© 2000 - 2024
Home
-
New releases
-
Composers
Legal notice
-
Full version
