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Contemplations Complete
Sheetmusic to print
53 sheet music found
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1
26
51
Contemplations Complete
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Piano solo
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EASY
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Contemporary
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Robert Brooks
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2,
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Contemplations Complete
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Mystic Jaguar
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SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.1017312 Composed by Robert Brooks. Contemporary. Score. 13 pages. Mystic Jaguar #6134351. Published by My...
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Piano Solo - Level 2 - Digital Download SKU: A0.1017312 Composed by Robert Brooks. Contemporary. Score. 13 pages. Mystic Jaguar #6134351. Published by Mystic Jaguar (A0.1017312). The complete collection of the 5 contemplation pieces. Includes: April Rain, Contemplation 1 & 2,
$15.99
Jan Freidlin: Contemplation for solo piano and string orchestra, score and complete parts
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Contemporary
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Jan Freidlin
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Jan Freidlin: Contemplation fo
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.534079 Composed by Jan Freidlin. 20th Century,Contemporary. Score and parts. 31 pages. Musik Fabri...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.534079 Composed by Jan Freidlin. 20th Century,Contemporary. Score and parts. 31 pages. Musik Fabrik Music Publishing #3108261. Published by Musik Fabrik Music Publishing (A0.534079). A one-movement extended meditation for solo piano and string orchestra. https://www.youtube.com/watch?v=M0jzO4u2oyM The is the scoore, the complete parts including the solo part with a second rehearsal piano. The score and the two piano version are also available for sale on this site.
$64.95
SCHUBERT SYMPHONY NO. 8 IN B MINOR COMPLETED BY NEIL CROSSLAND - 3rd & 4th MOVEMENT - SCORES + PARTS
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Orchestra
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Classical
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Schubert/Crossland
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SCHUBERT SYMPHONY NO. 8 IN B M
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Neil Crossland
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1503603 Composed by Schubert/Crossland. Classical,Romantic Period. 410 pages. Neil Crossland #1079059. Publishe...
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Full Orchestra - Digital Download SKU: A0.1503603 Composed by Schubert/Crossland. Classical,Romantic Period. 410 pages. Neil Crossland #1079059. Published by Neil Crossland (A0.1503603). My completion of Schubert’s Symphony No. 8 (Unfinished) brings to life the tantalizing fragments he left for the third and fourth movements. The third movement follows closely Schubert's surviving short score, where his intricate melodic ideas are expanded with a full orchestration that honors his harmonic language. This movement, true to Schubert’s symphonic style, carries a lively yet graceful energy, interspersed with contrasting themes that reflect both joy and contemplation.The fourth movement begins with a nod to Schubert’s Rosamunde Overture, seamlessly transitioning from the grandeur of the third movement. Drawing from the overture’s distinctive opening, I introduce a bold and majestic theme that acts as a foundation for the final movement. From here, the symphony unfolds into a dramatic and richly textured conclusion. My aim in this movement was to capture Schubert’s gift for lyrical, expansive melody while incorporating the dynamic tension and rhythmic drive that characterizes his symphonic writing.Throughout the fourth movement, I intertwine moments of serene beauty with powerful orchestral climaxes, echoing the drama of the symphony’s first movement. The use of Schubert’s melodic genius is central to this completion, with soaring strings and resonant winds building to a thrilling finale. The symphony concludes with a recapitulation of the opening theme from the first movement, bringing a sense of unity and closure to the entire work.The entire symphony, now lasting 50 minutes, forms a cohesive continuation of Schubert's original vision. This completion fills the second half of the concert program, offering a balanced and dramatic conclusion to the work Schubert began but never had the chance to finish.
$69.99
Craig Urquhart - SECRET SPACES (Complete album)
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Piano solo
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INTERMEDIATE
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New Age
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Contemporary
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Craig Urquhart
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Craig Urquhart - SECRET SPACES
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Craig URQUHART
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1045764 By Craig Urquhart. By Craig Urquhart. Classical,Contemporary,New Age. Score. 56 pages. Craig URQU...
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Piano Solo - Level 3 - Digital Download SKU: A0.1045764 By Craig Urquhart. By Craig Urquhart. Classical,Contemporary,New Age. Score. 56 pages. Craig URQUHART #650350. Published by Craig URQUHART (A0.1045764). Complete sheet music for the album SECRET SPACES. Contents: Secret Spaces, Contemplation, Reunion, Cathedral Pines, Along the Seine, Romance, Embrace, Venetian Snowfall, Forgiveness, Meditation, Virginia Mountain Morning.
$30.00
Saudação (Complete Songbook)
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Piano solo
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INTERMEDIATE
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Guilherme Veroneze
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Guilherme Veroneze
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Saudação
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Little Symphony Records
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1045531 By Guilherme Veroneze. By Guilherme Veroneze. Arranged by Guilherme Veroneze. Baroque,Classical,R...
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Piano Solo - Level 3 - Digital Download SKU: A0.1045531 By Guilherme Veroneze. By Guilherme Veroneze. Arranged by Guilherme Veroneze. Baroque,Classical,Renaissance,Romantic Period. Score. 26 pages. Little Symphony Records #650110. Published by Little Symphony Records (A0.1045531). A project two years in the making, Guilherme captivates us with 'Saudação,' an EP about contemplation and honouring life at that moment. Devised during a tender moment between him and his partner, Guilherme wished to play something that could facilitate meditation. He then had the idea for the first three songs of the EP, starting with the EP's namesake, 'Saudação.' The direct translation of Saudação is greetings. 'Saudação' asks us to reflect and greet life where it is and the beauty it carries. This is the complete songbook, containing piano scores for all 5 songs from the Saudação EP.
$14.99
Jan Freidlin: Contemplation for piano and string orchestra, score only
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Contemporary
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Jan Freidlin
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Jan Freidlin: Contemplation fo
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.534401 Composed by Jan Freidlin. 20th Century,Contemporary. Score and parts. 13 pages. Musik Fabri...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.534401 Composed by Jan Freidlin. 20th Century,Contemporary. Score and parts. 13 pages. Musik Fabrik Music Publishing #3454319. Published by Musik Fabrik Music Publishing (A0.534401). A one-movement extended meditation for solo piano and string orchestra. https://www.youtube.com/watch?v=M0jzO4u2oyM The is the score only. The score, the complete parts including the solo part with a second rehearsal piano and the two piano version are also available for sale on this site.
$19.95
ISADAR - The Journey (complete collection)
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Piano solo
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INTERMEDIATE/ADVANCED
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New Age
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Isadar
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ISADAR - The Journey
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Mainya Music Publishing
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1224308 By Isadar. By Isadar. New Age. Score. 63 pages. Mainya Music Publishing (BMI) #820403. Published ...
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Piano Solo - Level 4 - Digital Download SKU: A0.1224308 By Isadar. By Isadar. New Age. Score. 63 pages. Mainya Music Publishing (BMI) #820403. Published by Mainya Music Publishing (BMI) (A0.1224308). Sounds like:  Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artistsTranscribed by:  David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recordingContents: 1. Joyful Running 2. Fountain Of Life 3. Voice Of God (Thanksgiving) 4. Pocket Change 5. The Journey 6. Smoke Signals 7. Horseman's Thrill Ride 8. End Of The LineAlbum & Songbook review by:  Kathy Parsons (MainlyPiano.com):Isadar’s fourth solo piano album is a blend of smooth jazz and new age stylings, showing both his impressive technique and sensitivity to melody. Several of the eight selections are free-form and improvisational, revealing some of Liz Story’s influence on his music. Some of Isadar’s earlier recordings have very dark, moody sections, but this one stays fairly upbeat and optimistic without being ear candy. The music is complex enough to sink your teeth into, and yet is accessible enough to enjoy as a backdrop to a quiet dinner or an evening with a good book. Joyful Running begins the journey with an exuberant and uplifting piece that reminds me a little of some of Spencer Brewer’s bouncier compositions. Fountain of Life is a beautiful piece with a water-like flow that never stops in its 10 1/2 minutes. I listened to this CD several times without realizing that this song was that long. It flows and meanders so effortlessly that it seemed no longer than the other seven selections, most of which are between four and five minutes in length. Unstructured and free, this is one of my favorite tracks. I also really like the title track, which is even more abstract and unstructured. The tone is of searching and moving forward. End of the Line is my favorite on this album. Very introspective and contemplative, this seems to be a very personal piece. It is the most somber track, but one still senses hope despite the ending of something dear and important. Or maybe it’s simply the end of the journey and the dread of returning to real life - I feel this way on the last day of my vacations! It is a wonderful and moving closing to an excellent album.The companion songbook is expertly transcribed and engraved by David Shenton of New York Music Publishing. The layout of the music is clear and uncluttered, and the notation includes pedal markings and dynamics that allow the pianist to express the music as closely as possible to how Isadar played it on the recording.  A few of the pieces are quite long and require a more advanced pianist who is able to express the nuances that keep the recording so interesting, but several of the pieces are well within the capabilities of upper intermediate players.  Some of the rhythms are a little bit tricky, but the majority of the left hand parts are running eighth notes, which make it easier.  None of the key signatures are difficult, and none of the chords have a reach of more than an octave, making this music very playable for smaller hands.  My favorite pieces to play in this book are Joyful Running, Voice of God (Thanksgiving), Smoke Signals, and End of the Line.Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more... Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player piano.
$49.99
Summer Nocturnes - Complete Album for Solo Piano
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Piano solo
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EASY
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Jon O'Bergh
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Summer Nocturnes - Complete Al
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Jon O'Bergh
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SheetMusicPlus
Easy Piano - Level 2 - Digital Download SKU: A0.973235 Composed by Jon O'Bergh. 20th Century,Contemporary,New Age,Pop. Score. 29 pages. Jon O'Bergh #6444...
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Easy Piano - Level 2 - Digital Download SKU: A0.973235 Composed by Jon O'Bergh. 20th Century,Contemporary,New Age,Pop. Score. 29 pages. Jon O'Bergh #6444579. Published by Jon O'Bergh (A0.973235). All 12 songs from the album Summer Nocturnes, including Fireflies, Will-o'-the-Wisp, and The Fairy Mound. These gentle, contemplative nocturnes evoke moods of a summer eve. Available at Spotify, iTunes, etc. - copyright 2021 Jon O'Bergh, BMI.
$8.99
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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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: A0.1008375 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
I. Albeniz -"La Vega", Symphonic Poem, Orchestrated by A. Leytush - Score Only
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Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Isaac Albeniz
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A
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I. Albeniz -"La Vega", Symphon
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1378418 Composed by Isaac Albeniz. Arranged by A. Leytush. 19th Century. 98 pages. Arkady Leytush #96...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1378418 Composed by Isaac Albeniz. Arranged by A. Leytush. 19th Century. 98 pages. Arkady Leytush #963038. Published by Arkady Leytush (A0.1378418). Albeniz completed only La Vega (on 26 January 1897) and the first 16 bars of Generalife. The score was written in piano solo format, and La Vega was later orchestrated. The orchestral version of La Vega was never published however, but the composer decided to publish the piano solo version after discarding the last three pages and writing a new, more developed version of the entire piece, with a reprise of the opening A section taking the place of the three discarded pages. This new expanded version was completed on 14 February 1897 and published that year. The piece lasts approximately 14 minutes. «La Vega» is an evocation of the Granada plains on the edge of the city, a musical reflection, as the composer put it, contemplated from the Alhambra Palace. Claude Debussy, on hearing Albeniz play the piece, enthusiastically told him of his wish to immediately go and discover Granada.
$60.00
The Flying Dutchman
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Classical
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Richard Wagner
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The Flying Dutchman
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Schott Music - Digital
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SheetMusicPlus
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der ...
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.
$42.99
Der fliegende Holländer
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Classical
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Richard Wagner
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Der fliegende Holländer
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Schott Music - Digital
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SheetMusicPlus
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. - Str. Auf dem Theater: 3 Picc. · 6 Hr. · Tamt. · Windschleuder - Di...
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. - Str. Auf dem Theater: 3 Picc. · 6 Hr. · Tamt. · Windschleuder - Digital Download SKU: S9.Q25918 Romantische Oper in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25918. Published by Schott Music - Digital (S9.Q25918). German.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (1842-1880 version) This piano reduction is based on the edition of Der fliegende Holländer from the Critical Complete Edition of Richard Wagner’s works (Richard Wagner, Sämtliche Werke [Collected works], Vol. 4, III-VI, edited by Egon Voss, Mainz, 2000f.) The primary source for this edition was the first print of the score dating from 1845 which had however been augmented utilising the sources of additions undertaken after 1845, meaning that this edition is actually a compilation of the final versions of all individual sections or relevant details. The overture for example dates back to 1860 whereas No. 1 appears in the version from 1864. What is however most significant is that the versions from the Collected Editions based on new sources is without doubt closer to the original than the score from 1897 edited by Felix Weingartner which had previously formed the basis for all editions and logically also for all performances.†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).
$47.99
WHEN I SURVEY THE WONDROUS CROSS with Overhead PDF Text
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Piano solo
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INTERMEDIATE/ADVANCED
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Sacred music
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Edward Miller & Lowell Mason -
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Wanda Cooley
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WHEN I SURVEY THE WONDROUS CRO
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Wanda J. COOLEY
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.931667 Composed by Edward Miller & Lowell Mason - music and Isaac Watts - words. Arranged by Wanda Cooley...
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Piano Solo - Level 4 - Digital Download SKU: A0.931667 Composed by Edward Miller & Lowell Mason - music and Isaac Watts - words. Arranged by Wanda Cooley. Easter,Sacred. Score. 15 pages. Wanda J. COOLEY #6272917. Published by Wanda J. COOLEY (A0.931667). This arrangement begins in a lightly syncopated, contemporary style over a pedal tone. The second verse is built on sixths, creating an open, hollow background. Next, a slow chordal style in verse three contemplates the scene at the cross, and the final verse bursts forth in bold sixteenth- note patterns in both hands which actually play quite easily together, contrary to how 'busy' the music appears on the page. A repetition of demands my soul, my life, my all' brings the value of the cross back down to serious contemplation. The length is 4 minutes.WHEN I SURVEY THE WONDROUS CROSS is also available at SMP within IN THE CROSS, a pianist's complete kit for presenting the Gospel thru 10 hymn arrangements sequenced with Overhead PowerPoint Texts. Also included are program and organizational aids, narratives, and promotional graphics so that the pianist's only responsibility is playing the music!
$3.99
In The Goodness Of God
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Choral SATB
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INTERMEDIATE
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Sacred music
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Kevin Longley
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In The Goodness Of God
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Kevin Longley
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1019367 Composed by Kevin Longley. Christian,Holiday,Sacred. Octavo. 19 pages. Kevin Longley #63...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1019367 Composed by Kevin Longley. Christian,Holiday,Sacred. Octavo. 19 pages. Kevin Longley #6348427. Published by Kevin Longley (A0.1019367). In The Goodness Of God Inspiration Composed in June of 2015, I wrote the music without any thought as to what the lyrical idea would be. The entire piece is in a style that I typically don't compose in but I felt the melody had a certain appeal to it. Once the music was completed I began contemplating the goodness of god and what he has done for us. From there I decided the A section would be about his goodness followed by a section which would contain examples of his goodness. All in all I was pleased with the result and the effort I made with the singing. I especially enjoyed writing the flute part being inspired by a friend (Bob) who plays every Sunday at church. The Music A simple ABABA structure with traditional harmony and flute added for the last A section.
$1.99
Widmung
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Choral 2-part
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INTERMEDIATE
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Robert Schumann
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D
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Widmung
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Tully Road Music
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SheetMusicPlus
Choral Choir,Choral (TB) - Level 3 - Digital Download SKU: A0.1346349 Composed by Robert Schumann. Arranged by D. Jason Bishop. 19th Century,Classical,In...
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Choral Choir,Choral (TB) - Level 3 - Digital Download SKU: A0.1346349 Composed by Robert Schumann. Arranged by D. Jason Bishop. 19th Century,Classical,Instructional,Romantic Period,Wedding. 9 pages. Tully Road Music #931172. Published by Tully Road Music (A0.1346349). Robert Schumann’s song cycle Myrthen was a wedding present to his wife Clara Wieck. Myrthen, or “myrtles,†were the flowers traditionally associated with a marriage celebration. Schumann completed the Myrthen cycle in 1840, totaling 26 Lieder (songs for solo voice and piano), with texts by prominent 19th-century German poets such as Heinrich Heine, Johann Wolfgang von Goethe, and others. “Widmung,†which means “Dedication,†is the first song in the cycle, based on a love poem by Friedrich Rückert (1788-1866). The frequent repetition of the word “you†in the text, along with the soaring melody and undulating arpeggios that comprise the music, all serve to convey the composer’s state of blissful fulfillment as he contemplates marrying his beloved. This arrangement preserves Schumann’s original piano part as well as places the melody prominently in the top tenor voice. The lower voices provide supporting harmonies informed by the accompaniment, moving largely in parallel motion, but with their own counter-melodic value. It was premiered by the Young People’s Chorus of Erie Young Men’s Ensemble at the 2012 World Choir Games. The arrangement is also available in a version for SSA voices.
$2.00
Interchange for Vibraphone and Piano
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Contemporary
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Aris Carastathis
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Interchange for Vibraphone and
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Phorminx Editions
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SheetMusicPlus
Small Ensemble Hand Percussion,Piano Accompaniment,Vibraphone - Level 4 - Digital Download SKU: A0.1015867 Composed by Aris Carastathis. Contemporary. Sc...
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Small Ensemble Hand Percussion,Piano Accompaniment,Vibraphone - Level 4 - Digital Download SKU: A0.1015867 Composed by Aris Carastathis. Contemporary. Score and parts. 13 pages. Phorminx Editions #4984273. Published by Phorminx Editions (A0.1015867). Interchange for Vibraphone and Piano (2010) Program Notes Interchange is a highly contrapuntal work in which the two instruments engage in a continuous flow of thematic material. Often phrases start by one player and are completed by the other player in a very tightly knit musical fabric. Extended technique by the pianist portrays the percussive qualities of the piano, while the percussionist uses the piano as a percussion instrument as well. Vocal sounds by the pianist allude to the contemplative nature of this work. Interchange was composed especially for pianist-composer Diana McIntosh and percussionist Ben Reimer, who gave the premiere performance on May 12, 2011.
$15.00
Solace: A Mexican Serenade
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Brass ensemble
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INTERMEDIATE
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Ragtime
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Scott Joplin
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F
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Solace: A Mexican Serenade
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 3 - Digital Download SKU: A0.808676 Composed by Scott Joplin (1868–1917). Arranged by F. Leslie Smith. 20th Century,Film/TV...
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Brass Ensemble - Level 3 - Digital Download SKU: A0.808676 Composed by Scott Joplin (1868–1917). Arranged by F. Leslie Smith. 20th Century,Film/TV,Folk,Holiday,Love,Ragtime. Score and parts. 20 pages. Sweetwater Brass Press #3213035. Published by Sweetwater Brass Press (A0.808676). Marvin Hamlisch’s score for the 1973 movie The Sting revived interest in ragtime music. Ragtime, of course, is music, often in march-time, that features syncopation, a ragged beat. It originated in African-American districts of large cities and first flourished during the period, 1895-1918. One of the most successful ragtime composers was Scott Joplin, known as the King of Ragtime. Hamlisch used several Joplin compositions as background music for the George Roy Hill-directed film, and one of those was this beautiful and contemplative 1909 composition, Solace: A Mexican Serenade. In All Music Guide to Classical Music: The Definitive Guide to Classical Music (Woodstra et al., ed., CMP Books: 2005), Blair Johnston called Solace a musical hybrid neither authentically Mexican nor authentic ragtime. It is, instead, a habanera, but also a very lovely piece of Americana. This brass quintet arrangement of Solace was adapted from the Joplin piano score. Like the score, this arrangement is in 2/4 time and contains a lot of 16th notes. Joplin’s tempo instruction, however, is Very slow march time, and the metronome marking suggests 96 eighth notes a minute, so in reality the actual tempo is an andante 4/8. Trumpet 1 has some B-above-the-staff notes in the last section, Trumpet 2 has a few interesting rhythmic figures in section B; Trombone has 3 or 4 F-above-the-staff notes, and Tuba plays a couple of top-of-the-staff A’s in section D and at the very end. Plus, of course, the piece is syncopated. Completed in 2017, this arrangement runs about 6 minutes, 10 seconds. Contact the arranger, Les Smith, at lessmith@ufl.edu; he would be delighted to hear from you. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box.
$12.50
Widmung
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Choral 3-part
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INTERMEDIATE
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Robert Schumann
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D
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Widmung
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Tully Road Music
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SheetMusicPlus
Choral Choir,Choral (SSA) - Level 3 - Digital Download SKU: A0.1346346 Composed by Robert Schumann. Arranged by D. Jason Bishop. 19th Century,Classical,I...
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Choral Choir,Choral (SSA) - Level 3 - Digital Download SKU: A0.1346346 Composed by Robert Schumann. Arranged by D. Jason Bishop. 19th Century,Classical,Instructional,Romantic Period,Wedding. 9 pages. Tully Road Music #931169. Published by Tully Road Music (A0.1346346). Robert Schumann’s song cycle Myrthen was a wedding present to his wife Clara Wieck. Myrthen, or “myrtles,†were the flowers traditionally associated with a marriage celebration. Schumann completed the Myrthen cycle in 1840, totaling 26 Lieder (songs for solo voice and piano), with texts by prominent 19th-century German poets such as Heinrich Heine, Johann Wolfgang von Goethe, and others. “Widmung,†which means “Dedication,†is the first song in the cycle, based on a love poem by Friedrich Rückert (1788-1866). The frequent repetition of the word “you†in the text, along with the soaring melody and undulating arpeggios that comprise the music, all serve to convey the composer’s state of blissful fulfillment as he contemplates marrying his beloved. This arrangement preserves Schumann’s original piano part as well as places the melody prominently in the top soprano voice. The lower voices provide supporting harmonies informed by the accompaniment, moving largely in parallel motion, but with their own counter-melodic value. It was premiered in 2013 by the University of Michigan Women’s Glee Club under the direction of conductor Jaclyn Johnson. The arrangement is also available in a version for TTB voices.
$2.00
Ebb and Flow
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Orchestra
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ADVANCED
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Contemporary
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Daniel Burwasser
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Ebb and Flow
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Head and Stem
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1090023 By Daniel Burwasser. By Daniel Burwasser. Contemporary. Score and Parts. 326 pages. Head and ...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1090023 By Daniel Burwasser. By Daniel Burwasser. Contemporary. Score and Parts. 326 pages. Head and Stem #694221. Published by Head and Stem (A0.1090023). Ebb and Flow harks back to the composer’s years at the City University of New York. The work was completed in 1990 and revised in 2022 for this video score. A colorful and dramatic work, Ebb and Flow is based on two main themes: the first of which is heard at the very onset in the lower strings, and later, a more subdued and lyrical theme is presented. Transitions between these sections are fluid and contain moments of tension and resolution, highlighting the contrasts and interplay between the two states. Ultimately, Ebb and Flow as a musical composition aims to evoke a sense of movement, contemplation, and emotional resonance, capturing the essence of the natural ebb and flow phenomenon through the music. The piece also displays the composer’s stylistic tendencies for episodic writing, tender lyricism, frequently shifting textures and rhythmic drive . For more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$70.00
Albeniz/Leytush – “La Vega”, (The Alhambra)
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Orchestra
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ADVANCED
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Classical
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Isaac Albeniz
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A
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Albeniz/Leytush – “La Vega
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1076412 Composed by Isaac Albeniz. Arranged by A. Leytush. 20th Century. Score and parts. 96 pages. A...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1076412 Composed by Isaac Albeniz. Arranged by A. Leytush. 20th Century. Score and parts. 96 pages. Arkady Leytush #680568. Published by Arkady Leytush (A0.1076412). Orchestra: Piccolo, Flute, Oboe, English Horn, Clarinet in B flat, Soprano Saxophone, Bass Clarinet, 2 Bassoons, 4 Horns in F, 2 Trumpets in B flat, 2 Trombones, Bass Trombone, Tuba, Timpani, Percussion: Triangle, Castanets, Maracas, Snare drum, Cymbals, Gong, Tam-tam, Bass drum, Harp and Strings. - Advanced Intermediate - Digital Download Composed by Isaac Albeniz (1860-1909). Arranged by Arkady Leytush. Romantic Period, Impressionistic, Repertoire, European. 96 pages. Published by Arkady Leytush (S0.616185). Item Number: S0.616185 The composition of La Vega completed in 1897. It is interesting to note that Albeniz almost completely abandoned the composition of piano works after La Vega, although his fame was mainly focused on the works for this instrument. Although La Vega was planned as part of a cycle of melodies written on poems by his patron Money-Coutts and was therefore used as an independent piece of an orchestra suite, this work was originally composed for piano. According to the autographed dating found on the last page of the manuscript, Albeniz finished La Vega at first on January 26, 1897 in Auteuil, in a Paris neighborhood. In the course of the following weeks, decided to make profound changes. He deleted the last five pages of the Vega, added six at the beginning and composed a different ending of seven more pages. This revision ended in Paris on February 14, 1897, and Albeniz wrote down on the last page: La Alhambra, symphonic suite on poems by F. B. Money-Coutts: nº 1: La Vega. La Vega is an evocation of the Granada plains on the edge of the city, a musical reflection, as the composer put it, contemplated from the Alhambra Palace. Claude Debussy, on hearing Albeniz play the piece, enthusiastically told him of his wish to immediately go and discover Granada.
$60.00
Peacock Colors
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Piano solo
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INTERMEDIATE
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Donald Ashwander
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Peacock Colors
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The Donald Ashwander Estate
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1414330 Composed by Donald Ashwander. Ragtime. Score. 8 pages. The Donald Ashwander Estate #996103. Publi...
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Piano Solo - Level 3 - Digital Download SKU: A0.1414330 Composed by Donald Ashwander. Ragtime. Score. 8 pages. The Donald Ashwander Estate #996103. Published by The Donald Ashwander Estate (A0.1414330). Donald Ashwander's Peacock Colors invites listeners into a kaleidoscopic world of sound, where the boundaries between genres blur and the palette of emotions shifts like the iridescent hues of a peacock's plumage.In June 1967, Ashwander reflects, I awoke to a wonderful rainy morning. As the coffee dripped, I was filled with the luxurious feeling of having a day completely unscheduled. A perfect day for writing a new rag - the kind of rag that had never before been written. A Blues Rag-Waltz, I thought, that's the ticket! The composition, however, would not stay darkly blue as I had intended. Purples, browns, greens and in-betweens began to creep in. When the piece was complete, it had become an Iridescent Rag-Waltz. Sitting on top of my piano was an Art Nouveau vase filled with peacock feathers.With this anecdote in mind, one can trace the genesis of Peacock Colors. There are moments of playful whimsy, where the music seems to skip and twirl like the feathers of a dancing peacock, as well as passages of introspective reflection, where the harmonies deepen and the melodies take on a more contemplative tone.Ultimately, Peacock Colors is a testament to the power of music to transcend boundaries and capture the imagination. In Donald Ashwander's hands, the piano becomes a canvas, and each note a brushstroke, painting a vivid portrait of a world where waltz and ragtime intertwine in a glorious display of color and emotion.
$5.95
Southern Man
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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INTERMEDIATE
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Neil Young
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Jason Sullivann
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Southern Man
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Green Bicycle Music
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1408410 By Neil Young. By Neil Young. Arranged b...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1408410 By Neil Young. By Neil Young. Arranged by Jason Sullivann. Chamber,Folk,Historic,Multicultural,Rock,World. 22 pages. Green Bicycle Music #990996. Published by Green Bicycle Music (A0.1408410). Https://en.wikipedia.org/wiki/Southern_Man_(song)https://en.wikipedia.org/wiki/Slavery_in_the_United_StatesThis is a setting of Neil Young's SOUTHERN MAN (from the album AFTER THE GOLD RUSH) for woodwind quintet and optional percussion.The song is chosen by the arranger as a reponse to recent confisions surrounding the poisonouslegacy of Slavery, and various questionable debates regarding its history in America.Ironically, the arranger was originally ready to mention the song written as a response to thissong by the band Lynyrd Skynyrd, but found interesting information on Wikipedia (the links areprovided). Apparently the song by Young that spurred Lynyrd Skynyrd to write SWEET HOME ALABAMAwas the one titled simply ALABAMA, which is on the album HARVEST. Also interesting was the information that the bands and composers did get along, even showing this by wearing each other'st-shirts when performing.This arrangement is advanced grade 3 or grade 4, with no extreme playing in the outer registers,or meter changes, etc.. The optional percussion can be added to create a more solemn-march feel.The socio-political element is not varied or diffused in any way. If possible, the complete lyricsshould be contained in program notes. This piece offers a serious contemplation of the history andhorror of Slavery in America.
$14.99
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