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Vous avez sélectionné:
It's a Fix
Orchestre
Partitions à imprimer
11 partitions trouvées
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1
Coffee And A Scone - Score Only
Coffee And A Scone - Score Only
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Orchestre
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INTERMÉDIAIRE
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Zane Kuchera
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Zane Kuchera
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Coffee And A Scone - Score Onl
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Zane Kuchera Music
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1148887 By Zane Kuchera. By words: Zoë aan de Wiel, music: Zane Kuchera. Arranged by Zane Kuchera. Broadway,Classi...
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Full Orchestra - Level 3 - SKU: A0.1148887 By Zane Kuchera. By words: Zoë aan de Wiel, music: Zane Kuchera. Arranged by Zane Kuchera. Broadway,Classical,Film/TV,Jazz,Musical/Show,Pop. Score and parts. 6 pages. Zane Kuchera Music #749024. Published by Zane Kuchera Music (A0.1148887). 12/9/22 Zane Kuchera Music released “Coffee And A Scone†(AC/Jazz/Cabaret) - “Coffee and a Scone†is about a relationship that didn't end in the best way, so there's a last meeting to talk everything out. And in your head you keep reminding yourself it's just a coffee and a scone, one last talk that's not gonna fix anything between you two, but deep down you find it difficult to let the other person go. Words: Zoë aan de Wiel (Amsterdam), Music & performance: Zane Kuchera (zanekuchera.com) https://album.link/kg4bpm8v5pdjg.
$4.99 ≈
4.49€
Rap Symphony
Rap Symphony
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Orchestre
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AVANCÉ
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David Chesky
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Rap Symphony
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Pamaluc Music
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.882396 Composed by David Chesky. Contemporary,Jazz. Score and parts. 69 pages. Pamaluc Music #18967. Published by Pam...
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Full Orchestra - Level 5 - SKU: A0.882396 Composed by David Chesky. Contemporary,Jazz. Score and parts. 69 pages. Pamaluc Music #18967. Published by Pamaluc Music (A0.882396). The Rap Symphony for large orchestra featuring two rappers is about a transitional society, a society that is shifting from the word to the image. Our civilization once used to believe in depth and reading and art; now abstract thought is changing into a simplistic, superficial society where one is consumed with the quick Starbucks or Twitter fix. It's all lightness of being today. We don't celebrate anticipation anymore, people don't want to put the time in. This symphony is about the collapse of that whole ethos. The phrase in the lyrics that says 'kill the philharmonic' doesn't mean that literally. It's a metaphor for a society that has no use for the philharmonic. We're losing these things. Pretty soon John Coltrane and Miles Davis, along with all jazz and classic music, will become museum pieces. We used to have a culture that cherished these, but in a super simplistic society, there's just no room for them. Duration 19.38 min 3fl./ 2ob./ 2cl./ B.Cl/ 2bs./ cbsn/ 4hrns./ 3 tpts./ 3tbns./ tuba / tymp./ 6 perc./ harp/ strings View the video here https://www.youtube.com/watch?v=8XAuO9Rm3Cs.
$4.98 ≈
4.49€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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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 - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - 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 ≈
22.52€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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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 - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - 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 ≈
22.52€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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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 - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - 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 ≈
22.52€
Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only
Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only
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Orchestre
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AVANCÉ
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbi
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1425941 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 43 pages. Grahame Gordon Innes...
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Full Orchestra - Level 5 - SKU: A0.1425941 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 43 pages. Grahame Gordon Innes #1006730. Published by Grahame Gordon Innes (A0.1425941). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENT 1 – The Kytonian Expanse TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.1. The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the work’s unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenberg’s theoretical model of tone rows in an inclusive way, so that it is part of the work’s musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the ‘spark’ or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.
$45.00 ≈
40.53€
Symphony No 22 "Galaxymbion" Opus 33-36 - 4th Movement (4 of 7) - Score Only
Symphony No 22 "Galaxymbion" Opus 33-36 - 4th Movement (4 of 7) - Score Only
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Orchestre
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AVANCÉ
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbi
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1425953 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 37 pages. Grahame Gordon Innes...
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Full Orchestra - Level 5 - SKU: A0.1425953 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 37 pages. Grahame Gordon Innes #1006742. Published by Grahame Gordon Innes (A0.1425953). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENTS 4 – The Sirantiga Disaster TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.4. The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the work’s unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenberg’s theoretical model of tone rows in an inclusive way, so that it is part of the work’s musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the ‘spark’ or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.
$45.00 ≈
40.53€
Sea Pictures, Op. 37 Score and Parts (Letter Size) (Original higher keys for soprano)
Sea Pictures, Op. 37 Score and Parts (Letter Size) (Original higher keys for soprano)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Edward Elgar
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Sandstone Music
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Sea Pictures, Op. 37 Score and
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Sandstone Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.978455 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 255 pages. Sandstone ...
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Full Orchestra - Level 4 - SKU: A0.978455 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 255 pages. Sandstone Music #6716911. Published by Sandstone Music (A0.978455). This newly edited version of Elgar's 'Sea Pictures' matches up our piano vocal score with a new conductor score and orchestra parts. Previous versions of this work by other publishers are traditionally littered with mistakes and wrong notes / instructions, which have been fixed in this edition, including the addition of rehearsal marks which correspond across the piano vocal and conductor scores and orchestra parts. Elgar's 1899 work is a song cycle consisting of five songs: Sea Slumber Song, In Haven (Capri), Sabbath Morning at Sea, Where Corals Lie and The Swimmer. It has become one of the most popular works for singers and is frequently a major study work at conservatoires and universities. In the piano vocal score (available elsewhere on this website), the piano part has been adjusted to more closely resemble the orchestral parts. Please note, this version features the original higher keys which Elgar wrote initially for soprano. Sea Pictures is traditionally performed in lower keys, suitable for mezzo-soprano / contralto, as Elgar adjusted them for contralto Dame Clara Butt for the premiere and we also publish this score elsewhere on this site. This is the original, higher version for soprano.
$99.99 ≈
90.06€
Sea Pictures, Op. 37 Score and Parts (A4 Size) (Original higher keys for soprano)
Sea Pictures, Op. 37 Score and Parts (A4 Size) (Original higher keys for soprano)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Edward Elgar
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Sandstone Music
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Sea Pictures, Op. 37 Score and
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Sandstone Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.978456 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 253 pages. Sandstone ...
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Full Orchestra - Level 4 - SKU: A0.978456 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 253 pages. Sandstone Music #6716913. Published by Sandstone Music (A0.978456). This newly edited version of Elgar's 'Sea Pictures' matches up our piano vocal score with a new conductor score and orchestra parts. Previous versions of this work by other publishers are traditionally littered with mistakes and wrong notes / instructions, which have been fixed in this edition, including the addition of rehearsal marks which correspond across the piano vocal and conductor scores and orchestra parts. Elgar's 1899 work is a song cycle consisting of five songs: Sea Slumber Song, In Haven (Capri), Sabbath Morning at Sea, Where Corals Lie and The Swimmer. It has become one of the most popular works for singers and is frequently a major study work at conservatoires and universities. In the piano vocal score (available elsewhere on this website), the piano part has been adjusted to more closely resemble the orchestral parts. Please note, this version features the original higher keys which Elgar wrote initially for soprano. Sea Pictures is traditionally performed in lower keys, suitable for mezzo-soprano / contralto, as Elgar adjusted them for contralto Dame Clara Butt for the premiere and we also publish this score elsewhere on this site. This is the original, higher version for soprano.
$99.99 ≈
90.06€
Sea Pictures, Op. 37 Conductor Score (Letter Size) (Original higher keys for soprano)
Sea Pictures, Op. 37 Conductor Score (Letter Size) (Original higher keys for soprano)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Edward Elgar
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Sandstone Music
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Sea Pictures, Op. 37 Conductor
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Sandstone Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.978452 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 65 pages. Sandstone M...
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Full Orchestra - Level 4 - SKU: A0.978452 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 65 pages. Sandstone Music #6716131. Published by Sandstone Music (A0.978452). This newly edited version of Elgar's 'Sea Pictures' matches up our piano vocal score with a new conductor score and orchestra parts. Previous versions of this work by other publishers are traditionally littered with mistakes and wrong notes / instructions, which have been fixed in this edition, including the addition of rehearsal marks which correspond across the piano vocal and conductor scores and orchestra parts. Elgar's 1899 work is a song cycle consisting of five songs: Sea Slumber Song, In Haven (Capri), Sabbath Morning at Sea, Where Corals Lie and The Swimmer. It has become one of the most popular works for singers and is frequently a major study work at conservatoires and universities. In the piano vocal score (available elsewhere on this website), the piano part has been adjusted to more closely resemble the orchestral parts. Please note, this version features the original higher keys which Elgar wrote initially for soprano. Sea Pictures is traditionally performed in lower keys, suitable for mezzo-soprano / contralto, as Elgar adjusted them for contralto Dame Clara Butt for the premiere and we also publish this score elsewhere on this site. This is the original, higher version for soprano.
$31.99 ≈
28.81€
Sea Pictures, Op. 37 Conductor Score (A4 Size) (Original higher keys for soprano)
Sea Pictures, Op. 37 Conductor Score (A4 Size) (Original higher keys for soprano)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Edward Elgar
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Sandstone Music
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Sea Pictures, Op. 37 Conductor
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Sandstone Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.978454 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 65 pages. Sandstone M...
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Full Orchestra - Level 4 - SKU: A0.978454 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 65 pages. Sandstone Music #6716133. Published by Sandstone Music (A0.978454). This newly edited version of Elgar's 'Sea Pictures' matches up our piano vocal score with a new conductor score and orchestra parts. Previous versions of this work by other publishers are traditionally littered with mistakes and wrong notes / instructions, which have been fixed in this edition, including the addition of rehearsal marks which correspond across the piano vocal and conductor scores and orchestra parts. Elgar's 1899 work is a song cycle consisting of five songs: Sea Slumber Song, In Haven (Capri), Sabbath Morning at Sea, Where Corals Lie and The Swimmer. It has become one of the most popular works for singers and is frequently a major study work at conservatoires and universities. In the piano vocal score (available elsewhere on this website), the piano part has been adjusted to more closely resemble the orchestral parts. Please note, this version features the original higher keys which Elgar wrote initially for soprano. Sea Pictures is traditionally performed in lower keys, suitable for mezzo-soprano / contralto, as Elgar adjusted them for contralto Dame Clara Butt for the premiere and we also publish this score elsewhere on this site. This is the original, higher version for soprano.
$31.99 ≈
28.81€
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