All site ▾
All site▾
Free sheet music
Sheet music books
Digital sheet music
Musical equipment
My account
(log-in)
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
Français
Free Sheet Music ▾
▽ INSTRUMENTS
ACCORDION
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET M…
BOOKS
BOUZOUKI
CELLO - VIOLO…
CHARANGO
CHOIR - VOCAL
CLARINET
CORNET
DOBRO - GUIT.…
DOUBLE BASS
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEORB
MANDOLIN
MARCHING BAND
MARIMBA
OBOE
ORCHESTRA - B…
ORGAN - ORGAO
OTHER INSTRUM…
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLA DA GAMB…
VIOLIN - FIDD…
XYLOPHONE
ZITHER
NEW ADDITIONS
|
GENRES
|
20th century
Afro-americans
Ballad
Baroque
Bluegrass
Blues
Brazilian/Choro
Celtic
Celebrations
Classical
Classical modern
Contemporary
National Anthems
Jazz
New age
Opera
Ragtime
Renaissance
Romantic
Sonata
Tango
Traditional
Waltz
Occitan song
Song
Chinese traditional
Ethnic
Klezmer
Flamenco
Folk
Japanese traditional
March
Medieval
Musette
Orientale
Pasodoble
French popular
Popular Dance
Reggae
Swing
Latin/World
INSTRUCTIONAL
:
Blank sheet music
Children
Dictionaries
Instructional methods
Music theory
Musicology
Rhythmic Solfege
Solfeges
Studies
SACRED
:
African Hymns
Chassidic
Christian
Christmas
Gospel
Gregorian
Israeli
Sacred Hymns
Wedding
DIFFICULTY
|
Beginner
Easy
Intermediate
Intermediate/advanced
Advanced
TOP DOWNLOADS
|
TOP DOWNLOADS
TOP 100 SOCIAL RANKING
COMPOSERS
|
Member composers
Historical composers
All composers
INSTRUMENTATIONS
|
SOLO
DUET
TRIO
QUARTET
QUINTET
ENSEMBLE
ALL
ADVANCED SEARCH
|
Digital Sheet Music
HOME
|
NEW ADDITIONS
|
PIANO
|
Piano sheet music
Piano solo
Piano, Voice, Guitar
Piano duet
Easy Piano
Piano Method
Methods
Studies
Organ sheet music
Organ solo
Organ duet
INSTRUMENTAL
|
Strings
Violin
Viola
Cello
Doublebass
Harp
Woodwinds
Flute
Clarinet
Oboe
Saxophone
Bassoon
Brass
Trumpet
Horn
Trombone
Tuba
Guitar
Guitar Tabs
Piano, Voice, Guitar
Bass
Folk
Accordion
Banjo
Dulcimer
Ukulele
Mandolin
Chamber music
String quartet
Wind quintet
Brass quintet
Handbells
ORCHESTRA
|
Concert Band
Jazz Ensemble
Jazz combo
Brass band
Marching band
Methods
Orchestra
String orchestra
CHOIR / VOICE
|
Choir
SATB
TTBB
SSAA
3-parts
2-parts
Voice
Piano, Voice, Guitar
Piano, Voice
Voice solo
Voice duet
GENRES
|
20th century
Asian
Bluegrass
Blues
Broadway / Musicals
Celtic
Christmas
Classical
Children
Country
Fingerpicking
Flamenco
Folk Rock
French songs
Funk
Gospel
Halloween
Instructional
Instructional - Studies
Jazz
Klezmer
Latin / World
Latin Pop
Medieval / Renaissance
Metal / Hard
Movie / TV
Movie Walt Disney
New Age
Patriotic
Pop
Reggae
Rock
Rock Alt.
Sacred / Church
Soul / Rap
Tango
Traditional
Video Game
Wedding / Love
CHRISTMAS
|
All Christmas
Christmas Piano
Christmas Guitar
Christmas Voice/Choir
Halloween
DIFFICULTY
|
Beginner
Easy
Intermediate
Intermediate/advanced
Advanced
Music Sheet Library ▾
HOME
|
NEW ADDITIONS
|
PIANO
|
Piano (all)
Beginner Piano
Easy Piano
Piano Solo
PVG
Best Sellers
New additions
GUITAR
|
Guitar (all)
Beginner Guitar
Easy Guitar
Guitar TAB
Guitar (without TAB)
Best Sellers
New additions
VOICE/CHORAL
|
Choral & Voice (all)
Solo voice
Choral 2-Part
Choral 3-Part
Choral SATB
Choral TTBB
Choral SSAA
Choral UNISON
Best Sellers
New additions
INSTRUMENTATIONS
|
BEST SELLERS
|
CHRISTMAS
|
GENRES
|
20th century
African
Asian
Bluegrass
Blues
Broadway / Musical
Celtic
Christmas
Classical
Country
Children
Eastern Europe
Exams
Fingerpicking
Flamenco
Folk Rock
French songs
Funk
Gypsy jazz
Gospel
Halloween
Instructional
Instructional - Studies
Instructional - Chords/Scales
Jazz
Klezmer
Latin / World
Latin Pop
Medieval / Renaissance
Metal
Movie / TV
Movie Walt Disney
New Age
Patriotic
Pop
Reggae
Rock
Rock Alternative
Sacred / Church
Soul / Rap
Tango
Traditional
Video Games
Wedding / Love
SECTIONS
|
ARTISTS
PUBLISHERS
CLASSROOM
GIFT IDEAS
BOOKS ABOUT MUSIC
PLAY-ALONG
ADV.SEARCH
Musical Equipment ▾
GUITAR
|
KEYBOARD
|
PERCU.
|
STUDIO
|
SOFT
|
PA
|
LIGHT
|
DJ
|
MIC
|
EFFECTS
|
WINDS
|
TRAD.
|
FLIGHT
|
CABLES
|
ACC.
|
GIFT
|
BRANDS
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
So Long Self
Not classified
508
Piano & keyboards
Piano solo
79
Piano, Voice
75
Easy Piano
18
Piano, Vocal and Guitar
15
C Instruments
6
Organ
2
1 Piano, 4 hands
1
Piano Accompaniment
1
+ 3 instrumentations
-
Retract
Guitars
Guitar
9
Guitar notes and tablatures
7
Melody line, (Lyrics) and Chords
2
Lyrics and Chords
1
Mandolin
1
Bass guitar
1
+ 1 instrumentations
-
Retract
Voice
Choral 2-part
30
Choral SATB
14
Choral 3-part
6
Choral TTBB
3
Vocal duet, Piano
1
Woodwind
Flute and Piano
3
Clarinet
3
Descant (Soprano) Recorder
3
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
2
Clarinet Quartet: 4 clarinets
2
Saxophone (band part)
2
Oboe, Piano (duet)
2
Clarinet, Bassoon (duet)
2
Flute Quintet : 5 flutes
1
5 Recorders
1
2 Flutes (duet)
1
Saxophone ensemble
1
Flute
1
Recorder
1
2 English horns and Pianoforte
1
Treble (Alto) Recorder
1
Treble (Alto) Recorder, Piano
1
2 Clarinets (duet)
1
3 Saxophones (trio)
1
Alto Saxophone and Piano
1
Flute ensemble
1
Saxophone Quintet: 5 Saxophones
1
2 Saxophones (duet)
1
Tenor Saxophone and Piano
1
Alto Saxophone
1
+ 20 instrumentations
-
Retract
Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba
3
Trumpet
2
Tuba
2
Trumpet ensemble
1
2 English horns and Pianoforte
1
Trombone
1
Horn Ensemble
1
Trumpet, Piano
1
Bass Clef Instruments
1
Brass Quartet: 2 trumpets, horn, trombone
1
Brass quartet : 2 trumpets, trombone, tuba
1
Tuba ensemble
1
+ 7 instrumentations
-
Retract
Strings
String Quartet: 2 violins, viola, cello
11
Violin
7
Violin and Piano
4
Harp
3
2 Cellos (duet)
2
String Trio: 2 violins, cello
2
2 Violas (duet)
1
Cello (band part)
1
Violin, Bassoon (duet)
1
Doublebass (band part)
1
Cello, Piano
1
Violin, Cello (duet)
1
String Trio: violin, viola, cello
1
Cello
1
Viola, Piano
1
Viola and Bassoon
1
+ 11 instrumentations
-
Retract
Percussion & orchestra
Concert band
31
Orchestra
11
Chamber Orchestra
5
Brass ensemble
4
String Orchestra
3
Jazz Ensemble
2
Drums
2
Piano and Orchestra
1
Marching band
1
+ 4 instrumentations
-
Retract
Others
Home
Best Sellers
New releases
Methods
Studies
Sellers
Sellers
Americans
At Musicnotes
At Sheetmusicplus
At Virtualsheetmusic
Europeans
At Tomplay
At Prof-Editions
At Note4piano
At Noviscore
At Quickpartitions
International artists list
French artists list
Top artists
Top artists
POP
Adele
Daft Punk
Avicii
Pharrel Williams
Bruno Mars
Lily Allen
Birdy
John Legend
Passenger
Emeli Sand�
Beatles
NEW AGE / CLASSICAL
Yiruma
Ludovico Einaudi
John Williams
Piazzolla
John Rutter
Dmitri Shostakovich
Benjamin Britten
Ennio Morricone
Paul Mealor
John Rutter
Eric Whitacre
John Tavener
Christmas
Halloween
Easter
Wedding
Sacred
International Artists :
• Long, Helen Jane
FREE SHEET MUSIC
185,000+ free sheet music
SHEET MUSIC LIBRARY
1,500,000+ buy and delivery
DIGITAL SHEET MUSIC
2,000,000+ buy and print
MUSICAL INSTRUMENTS
200,000+ buy and delivery
Sheet Music Membership ($37.75/year)
Digital sheet music, access after purchasing
Post mailing
Digital sheet music
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
You've selected:
So Long Self
Orchestra
Sheetmusic to print
11 sheet music found
<
1
EP!C!!!
EP!C!!!
#
Orchestra
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Austin Wintory
#
EP!C!!!
#
Austin Wintory
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243....
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Austin Wintory (A0.1031686). EP!C!!! is an overture-sized orchestral work, originally commissioned by the West Michigan Symphony in 2016. It is intended as a higher energy opener or Act 1 closer. Program notes:Entirely by mistake, EP!C!!! is study in conflict. The piece began with a simple premise: compose a work which teases some of the pervasive clichés of today’s musical landscape (particularly the Hollywood or so-called media music scenes). Those clichés are primarily two gestures: 1) a progression of chords, often called the Chords of Destiny (consisting of i – VI – III – VIII) and 2) an endlessly repeating minor third ostinato.The conflict emerged internally when, after multiple false starts, I would quickly start to hate the piece because it felt like the clichés were being presented whole cloth, without the slightest sense of irony. I became deeply paranoid that the music wasn’t in on its own joke. When I would reverse course, it felt condescending, as though it were declaring from some erudite ivory tower that it was above those gestures. The trouble particularly with the latter is that clichés become so for a reason; something genuinely compelling becomes so ubiquitous that it loses some of the freshness, but that doesn’t erase what initially made it compelling. So the piece needed to somehow make fun of the fact that these gestures are cliché, while not dismissing their intrinsic value. And indeed, to celebrate that value!It took a long time to find my place between those two extremes, and ultimately I think the music that emerged is actually the conflict itself manifest. The two gestures are this constant presence, almost like a seductive temptation, that are initially regarded as distractions, but eventually become the music’s core. It’s as though the music finally decided to just relent and find something to truly love and celebrate within these overwrought ideas, haters be damned.However, for the sake of total clarity of intention, I couldn’t resist some on-the-nose tongue-in-cheek. The little cameo of Haydn’s lulling 94th Symphony 2nd movement tune is my way of saying you think classical music is epic??? THEN LISTEN TO THIS SH*T!!! before inevitably popping open a Mountain Dew and snowboarding into an avalanche.- Austin Wintory, October 21, 2016
$40.00 ≈
36.69€
Only from Blood Does Freedom Grow (Full Score and Parts)
Only from Blood Does Freedom Grow (Full Score and Parts)
#
Orchestra
#
EASY
#
Stanley M Hoffman
#
Stanley M Hoffman
#
Only from Blood Does Freedom G
#
stanleymhoffman.com
#
SheetMusicPlus
Full Orchestra - Level 2 - Digital Download SKU: A0.1465707 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 21st Century,Classical,Patrioti...
(+)
Full Orchestra - Level 2 - Digital Download SKU: A0.1465707 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 21st Century,Classical,Patriotic. 136 pages. Stanleymhoffman.com #1044317. Published by stanleymhoffman.com (A0.1465707). Based on one of only several poems written by my mother, Jewish Holocaust survivor Rita Hoffman of blessed memory (1927–2018), Only from Blood Does Freedom Grow echoes the words of Hatikvah (The Hope), the national anthem of Israel. I have to believe that she wrote this poem around 1948 because of how it is worded. I of course knew the source of inspiration for this poem when I reread it not long ago—something I had not done since the 1990s—but its having been inspired by Hatikvah was really driven home to me by a Facebook comment. That comment inspired me to compose a piece in which the opening and closing sections are based on the opening melody of Hatikvah, but in which the middle section is newly composed. “Israel was not created in order to disappear - Israel will endure and flourish. It is the child of hope and the home of the brave. It can neither be broken by adversity nor demoralized by success. It carries the shield of democracy, and it honors the sword of freedom.” —John F. KennedyMy mother’s brief memoirs are housed at the United States Holocaust Memorial Museum in Washington, DC. https://collections.ushmm.org/search/catalog/irn502129—Stanley M. Hoffman, 25 June 2024—Only from Blood Does Freedom Grow For so many years a voice sounded in Jewish hearts saying,“We want to have a home, we want to have a life again.”Enough blood has already streamed through rivers,the blood shed by our brothers *[and sisters],they, who for freedom of strangers and nation died.Now, the dream we dreamt for a long time has been awakened in us.We want to fight for our state, our country.The moment that we have been waiting for and been praying fortwo thousand years has brought us a spark of hope.We must not despair, for we are nevertheless Jews.We must and must want to persevere.A time will come which itself will become a symbol of our tragedy,and which will remain forever in our hearts -a burning flame, and a joyful feast. —Rita Hoffman (1927–2018)Words: © Copyright 1948 by The Estate of Rita Hoffman.All rights reserved. Used by permission.—Instrumentation 2 Flutes (2 Piccolos)2 Oboes2 Clarinets in Bb2 Bassoons 4 Horns in F2 Trumpets in Bb2 TrombonesTubaTam-tamTimpaniStringsDurationca. 2:30
$68.00 ≈
62.37€
Opus#22 In D Major (A Clear Bright Mourning/Choir and Orchestra)
Opus#22 In D Major (A Clear Bright Mourning/Choir and Orchestra)
#
Orchestra
#
INTERMEDIATE
#
Sacred music
#
Joseph Pugh
#
Opus#22 In D Major
#
Joseph Pugh
#
SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.855379 Composed by Joseph Pugh. Christian,Sacred. Score and parts. 39 pages. Joseph Pugh #6674579. Pu...
(+)
Full Orchestra - Level 3 - Digital Download SKU: A0.855379 Composed by Joseph Pugh. Christian,Sacred. Score and parts. 39 pages. Joseph Pugh #6674579. Published by Joseph Pugh (A0.855379). This started out to just be part of Joseph's Opus Series but, he says, My heart was prompted to the scripture verse, and I wrote some lyrics, so it turned into a choir and orchestra arrangement based on the piano score. I hope everyone is encouraged to press on and make heaven their home by denying self, taking up the Cross, and obeying every leading of the Holy Spirit.Mp3 play along sold separately.
$35.00 ≈
32.10€
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
#
Orchestra
#
Classical
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
(+)
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
22.93€
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
#
Orchestra
#
Classical
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
(+)
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00 ≈
22.93€
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
#
Orchestra
#
Classical
#
Claude Debussy
#
Arkady Leytush
#
Claude Debussy ‒ Estamp
#
Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...
(+)
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
22.93€
Four Impressions on Debussy (4 Piano Preludes arranged for Full Orchestra) ? Score and Parts
Four Impressions on Debussy (4 Piano Preludes - Full Orchestra) ? Score and Parts
#
Orchestra
#
INTERMEDIATE/ADVANCED
#
Classical
#
Claude Debussy
#
Ben Trigg
#
Four Impressions on Debussy
#
OlivePress Music
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1370381 Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. O...
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.1370381 Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. OlivePress Music #954757. Published by OlivePress Music (A0.1370381). From Debussyâ??s Préludes, Book I:I: The Wind Over The PlainsII: The Girl With The Flaxen HairIII: Puckâ??s DanceIV: The Sunken CathedralDebussyâ??s piano music is filled with colour, texture, vibrancy, sonority. To play it is to be taken inside a sound world greater than the instrument itself. In other words, it seems to demand orchestration. Whether the fanfare call of Puckâ??s Dance, the sotto voce flurries evoking The Wind Over The Plains, or the deepest and highest reaches of the musical spectrum explored in the under-water world of The Sunken Cathedral, Debussyâ??s music seems to drop hints at obvious orchestral manoeuvres. His great skill, of course, was condensing these musical ideas to the piano. But the fruit is there fo the taking, and indeed other orchestrations exist of the complete suite of piano preludes â?? Books I and II. So, why another?This particular suite cherry-picks some of my own favourite movements from the suite, and arranges them in a â??symphonicâ?? structure to present an opening, expository movement (The Wind Over The Plains), a romantic Adagio (The Girl With The Flaxen Hair), a sprightly â??scherzoâ?? (Puckâ??s Dance), concluding with an epic finale (The Sunken Cathedral). This condensed suite may make the music more approachable for some orchestras, and offers something shorter to concert programmes wishing to feature other major works alongside, instead of performing all 24 preludes.I hope you enjoy performing this suite as much as I enjoyed arranging it.Instrumentation: Piccolo 2 Flutes 2 Oboes Cor Anglais 2 Clarinets in Bâ? Bass Clarinet in Bâ? 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in Bâ? 2 Trombones Bass Trombone Tuba Timpani Percussion (3/4 players): Triangle, Crash Cymbals, Suspended Cymbal, Bass Drum, Tam-Tam, Glockenspiel, Tubular Bells Celesta Harp Violin 1 (divisi à 4) Violin 2 (divisi à 4) Viola (divisi à 4) Violoncello (divisi à 4) Contrabass (B extension where possible) (divisi à 4)
$99.99 ≈
91.72€
Ballet, “THE LITTLE MATCH GIRL”, Op.24, (1977) - (parts)
Ballet, “THE LITTLE MATCH GIRL”, Op.24, (1977) - (parts)
#
Orchestra
#
ADVANCED
#
An-lun Huang
#
Ballet, “THE LITTLE MATCH GI
#
DoReMi Edition
#
SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1009195 Composed by An-lun Huang. 20th Century,Christmas,Classical. Score and parts. 248 pages. DoReM...
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1009195 Composed by An-lun Huang. 20th Century,Christmas,Classical. Score and parts. 248 pages. DoReMi Edition #594857. Published by DoReMi Edition (A0.1009195). Based on the fairy tale “The Little Match Girl†by Hans Christian Anderson (1805-1875), the famous Danish writer, the Beijing Ballet School of China commissioned An-Lun Huang to compose this ballet in 1977. The play was written by Zhang Dun-yi, and the choreographers were Wu Fu-kang and Huang Buo-hong. The premiere took place in Beijing in 1977. It was performed by the school and the Central Opera House Orchestra, conducted by Zheng Xiao-ying. The music is written in Nineteen Century-Romantic style with some strong Scandinavian flavor. Margot Fonteyn, one of the most important ballet dancers of our age, claimed that “the composer has composed the very, very, very good music for this ballet ! “ She then produced a movie of it, which has been broadcasted by the PBS of U.S.A. in early of eighties. Since the great success of the premiere, this ballet and its music have been widely performed and warmly received. A tape of it was also released in China. This is the story of the ballet: In a little Danish town in the nineteenth century, Betty, a little girl who lost her mother, was selling matches along the street during Christmas time. The sound of the church bell reminded her that the time was quite late, but she was unable to go home until she completed her job. An old man came to light the street lights. He gave her some money and left. Betty tried to sell her matches to a carriage, but the carriage just ran away. Snow fell, cold and hungry, she lit a match on the wall to warm herself. A group of “Fire Fairies†appeared. They danced around her and got her warm. Since they disappeared so quickly, Betty lit another match. She saw a big dining room with a beautiful Christmas tree and a lot of food. While some bus boys were handing her a piece of roasted goose, the typical Danish Christmas food, a nobleman in a portrait hanging on the wall suddenly moved. Everything disappeared again. Betty immediately lit the third match, a “Swan Lake†with a beautiful garden appeared. She met her mother with tears because the mother had passed away for years. Mother got a pair of little red shoes for her as the Christmas gift and danced with her. The “Portrait nobleman†brought the mother out of the scene. Everything was gone but the snow storm. The church bell sounded again, with the morning dawn, the old man came to extinguish the street lights. He found the frozen body of the little girl. The attached mp3 is a performance by the Russian Philharmonic, conducted by the composer, 1998. English Text by Rebekah Wong Orchestration: Flauto Piccolo ( Flauto III), 2 Flauti, 2 Oboi (Corno- inglese), 2 Clarinetti in B flat, 2 Fagotti; 4 Corni in F, 2 Trombe in B flat, 3 Tromboni, 1 Tuba; 4 Timpani, Piatti, Tamburo, Trianglo, Companelli, Celesta, Campana, Wood Blocks ,Sonagliera; Violini I, Violini II, Viole, Violoncelli e Contrabassi.
$300.00 ≈
275.18€
THREE ANIMAL SAYINGS 1--WHEN CAT'S AWAY, MICE WILL PLAY--orchestra
THREE ANIMAL SAYINGS 1--WHEN CAT'S AWAY, MICE WILL PLAY--orchestra
#
Orchestra
#
INTERMEDIATE/ADVANCED
#
Alan Edgar
#
THREE ANIMAL SAYINGS 1--WHEN C
#
Alan Edgar Ted Moon
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.903753 Composed by Alan Edgar. 20th Century,Children. Score and parts. 37 pages. Alan Edgar Ted Moon ...
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.903753 Composed by Alan Edgar. 20th Century,Children. Score and parts. 37 pages. Alan Edgar Ted Moon #3053937. Published by Alan Edgar Ted Moon (A0.903753). The first of three movements depicting animal sayings or proverbs. This movement requires Piccolo, Flute, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, Percussion (1 or 2 players), Harp (optional), Strings. The first section depicts Cat, slinking along, mieowing and purring A few mice appear so Cat flips her tail, crouches and charges, whereupon the mice disappear. Cat nonchalantly licks herself (viola solo)and then walks away, diminuendo. In the second section, now that Cat is away, the mice come out to play…
$10.00 ≈
9.17€
Rose
Rose
#
Orchestra
#
EASY
#
Film/TV
#
James Horner
#
Marco Müller
#
2
• Oboe 1 &
#
Rose
#
Marco Müller
#
SheetMusicPlus
Full Orchestra - Level 2 - Digital Download SKU: A0.1139905 Composed by James Horner. Arranged by Marco Müller. 20th Century,Film/TV,Standards,Wedding...
(+)
Full Orchestra - Level 2 - Digital Download SKU: A0.1139905 Composed by James Horner. Arranged by Marco Müller. 20th Century,Film/TV,Standards,Wedding. Score and Parts. 26 pages. Marco Müller #740172. Published by Marco Müller (A0.1139905). This is the famous and very emotive theme called Rose from the movie Titanic by James Cameron. The music was composed by the master James Horner himself and is one of the most well-known movie soundtracks in history. This piece can be found troughout the movie but especially with its romantic character, which does not deny a climax in form of a modulation at the end of the piece, in romantic scenes.Instrumentation:• Flute 1 & 2• Oboe 1 & 2• B-flat Clarinet 1 & 2• Timpani (2 are enough)• Triangle• Cymbals (suspended)• Harp• Violin 1• Violin 2• Viola• Violoncello• ContrabassThis arrangement is very similar to the original title taken from the soundtrack album (for better playability with an orchestra without a piano and singer, though), so if desired, this score can be used to follow along while the original is playing.Original Title: https://www.youtube.com/watch?v=iUH0dEe1jvA&list=OLAK5uy_kU5dblnzh7oBQSfzQbAnvVQfp1Aro9Y4E&index=4
$49.99 ≈
45.85€
TAPS A Rembrance
TAPS A Rembrance
#
Orchestra
#
INTERMEDIATE
#
Traditional
#
Ken Litton
#
TAPS A Rembrance
#
Artist of Note, Inc.
#
SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1226101 Composed by Traditional. Arranged by Ken Litton. Historic,Patriotic,Standards,Traditional. Sc...
(+)
Full Orchestra - Level 3 - Digital Download SKU: A0.1226101 Composed by Traditional. Arranged by Ken Litton. Historic,Patriotic,Standards,Traditional. Score and Parts. 28 pages. Artist of Note, Inc. #822125. Published by Artist of Note, Inc. (A0.1226101). TAPS  A Remembrance   Bb Solo Trumpet, Narrator, Piano/Organ/Orchestra, optional SATB Choir  > 2:00TAPS - A Remembrance is ideal for the kinds of brief but important Memorial Day and/or Independence Day observances so often called for in our time.The poignant narration recalls the story of United States Army Sergeant Keith Clark playing the bugle call know today as Taps for the interment of President John F. Kennedy (November of 1963). As author William Manchester later wrote, “The 6th note of the 24 he played seemed like “a catch in your voice or a swiftly stifled sob†that the whole world heard, and that remains part of our national heritage.The background arrangement (optionally with chorus) heightens the emotion of the story until both give way to a regulation trumpet solo version that includes the grace note error and fades at the end. The orchestration is done in a 4 Part + format that lends itself to optional performance by any section of the orchestra (originally for brass alone).The choral octavo carries the complete narration (also see below) with accompaniment (playable by/adaptable to organ) and the solo trumpet part (all that’s really needed to perform the piece) along with permission to reproduce the octavo for optional choir/ensemble.The choral writing involves divisi only at two easily sung cadence points.And, it can be performed by just the brass and the narrator.For those who may not know the story:CBS News video of A Bugle Call Remembered Gathering 11/16/2013  [01:15]  https://www.youtube.com/watch?v=E3u2qKWQ8io----NARRATOR:  Since the mid 1800s the bugle call known today as Taps has heralded rest for the weary, as well as comfort and encouragement in times of deep personal and collective grief.** music beginsAt about 3:00 p.m. on November 24th 1963, as the nation mourned the assassination of President John F. Kennedy, United States Army Sergeant Keith Clark raised his bugle at Arlington National Cemetery [†with thoughts of I Corinthians 15:51 in mind, “The trumpet shall soundâ€].Clearly broadcast throughout the country and around the world, the 6th note of the 24 he played seemed like “a catch in your voice or a swiftly stifled sob†as author William Manchester put it. But, as another observer** noted: “Like the crack in the Liberty Bell, it remains part of our national heritage.â€(Taps solo Trumpet with intentional error at m.14 continues)________† Optional text** Ed Hunter for www.TapsForever.com.
$29.99 ≈
27.51€
<
1