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Canon and Dance for Orchestra
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You've selected:
Canon and Dance for Orchestra
Sheetmusic to print
10 sheet music found
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1
Canon and Dance for Orchestra
Canon and Dance for Orchestra
#
Orchestra
#
Patrick Riley
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Canon and Dance for Orchestra
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ASCAP-PDR Music-0075567
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.504492 Composed by Patrick Riley. Classical,Contemporary,Contest,Festival,Multicultural,Traditional,World. Scor...
(+)
Full Orchestra - Digital Download SKU: A0.504492 Composed by Patrick Riley. Classical,Contemporary,Contest,Festival,Multicultural,Traditional,World. Score and parts. 157 pages. Published by ASCAP-PDR Music-0075567 (A0.504492). Instrumental (2 movements) with piccolo, flute, oboe, bassoon, horn in F I, horn in F II, horn in F III, horn in F IV, trumpet in Bb I, trumpet in Bb II, trumpet in Bb III, trombone I, trombone II, bass trombone, tuba, timpani, cymbals, snare drum, percussion (orch bells), piano, latin perc conga drum, latin perc timbales, violin I, violin II, viola, cello, and contrabass. Performance time 00:08:40. MIDI recording available.
$39.99 ≈
£30.25
Wandering Waltz
Wandering Waltz
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String Orchestra
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EASY
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Contemporary
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Marsha Chusmir Shapiro
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Wandering Waltz
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Marsha Shapiro
#
SheetMusicPlus
String Orchestra - Level 2 - Digital Download SKU: A0.963586 Composed by Marsha Chusmir Shapiro. Contemporary. Score and parts. 24 pages. Marsha Shapiro ...
(+)
String Orchestra - Level 2 - Digital Download SKU: A0.963586 Composed by Marsha Chusmir Shapiro. Contemporary. Score and parts. 24 pages. Marsha Shapiro #3868663. Published by Marsha Shapiro (A0.963586). Grade 2.5: Wandering Waltz is a modern version of the dance form, also in 3/4 time, but with a changing base of tonality caused by the frequent use of chromatics, unequal phrases employing canonic counterpoint, and melody moving throughout the instrumentation. There is no 'oom pa pa' underlying rhythm anywhere in the composition. This is what gives the composition its unbalanced or 'wandering' style.
$35.00 ≈
£26.48
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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Orchestra
#
Classical
#
Claude Debussy
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Arkady Leytush
#
Claude Debussy ‒ Estamp
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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 ≈
£18.91
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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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 ≈
£18.91
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
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Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...
(+)
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 ≈
£18.91
La Danse por Orchestra de Chambre
La Danse por Orchestra de Chambre
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Classical
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Celebrity Chamber Players
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La Danse por Orchestra de Cham
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Father Ambrose Press
#
SheetMusicPlus
Large Ensemble Bass Clarinet,Cello,Viola,Violin - Level 5 - Interactive Download SKU: A0.494053 By Celebrity Chamber Players. By Marshall Thomas. This ed...
(+)
Large Ensemble Bass Clarinet,Cello,Viola,Violin - Level 5 - Interactive Download SKU: A0.494053 By Celebrity Chamber Players. By Marshall Thomas. This edition: Interactive Download. Classical. Score and parts. Duration 246. Father Ambrose Press #6Z0XfXbJTjetSFlBoRiQWu. Published by Father Ambrose Press (A0.494053). Key: G major.A composition for a dance troupe, using the archtype of a canon...
$28.00 ≈
£21.18
Divertimento giocoso
Divertimento giocoso
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String Orchestra
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INTERMEDIATE
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Harald Genzmer
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Divertimento giocoso
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Schott Music - Digital
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SheetMusicPlus
2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra - intermediate - Digital Download SKU: S9.Q16335 Composed by Harald Genzmer...
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2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra - intermediate - Digital Download SKU: S9.Q16335 Composed by Harald Genzmer. This edition: score. Concertino. Downloadable, Score. Duration 13 minutes. Schott Music - Digital #Q16335. Published by Schott Music - Digital (S9.Q16335). The 'Divertimento giocoso' by Harald Genzmer created in 1960 is scored for two woodwind instruments (flutes, recorders or transverse flute and oboe) as solo instruments opposed to the string orchestra. The composer, whose work suits the amateur music-making very much in many respects, succeeded in creating a tonal arrangement that is individual in style. In the first movement, this rhythmically very lively, thematically clearly visible and harmonically interesting though not revolutionary work presents the strings and the solo instruments often entering canonically with an easily remembered -seventh motif; in the second movement, it leads a melody dying away a long time to a dynamic climax, adds harmonic cross relations to a scherzo moving in dance style and closes with a lively vivace movement. (Das Liebhaber-orchester).
$21.99 ≈
£16.63
Divertimento giocoso
Divertimento giocoso
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String Orchestra
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INTERMEDIATE
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Harald Genzmer
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Divertimento giocoso
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Schott Music - Digital
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SheetMusicPlus
2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra - intermediate - Digital Download SKU: S9.Q43341 Composed by Harald Genzmer...
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2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra - intermediate - Digital Download SKU: S9.Q43341 Composed by Harald Genzmer. This edition: solo part. Concertino. Downloadable, Solo part. Duration 13 minutes. Schott Music - Digital #Q43341. Published by Schott Music - Digital (S9.Q43341). The ‘Divertimento giocoso’ by Harald Genzmer created in 1960 is scored for two woodwind instruments (flutes, recorders or transverse flute and oboe) as solo instruments opposed to the string orchestra. The composer, whose work suits the amateur music-making very much in many respects, succeeded in creating a tonal arrangement that is individual in style. In the first movement, this rhythmically very lively, thematically clearly visible and harmonically interesting though not revolutionary work presents the strings and the solo instruments often entering canonically with an easily remembered -seventh motif; in the second movement, it leads a melody dying away a long time to a dynamic climax, adds harmonic cross relations to a scherzo moving in dance style and closes with a lively vivace movement.“ (Das Liebhaber-orchester).
$5.99 ≈
£4.53
Divertimento giocoso
Divertimento giocoso
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String Orchestra
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INTERMEDIATE
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Harald Genzmer
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Divertimento giocoso
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Schott Music - Digital
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SheetMusicPlus
2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra - intermediate - Digital Download SKU: S9.Q15518 Composed by Harald Genzmer...
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2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra - intermediate - Digital Download SKU: S9.Q15518 Composed by Harald Genzmer. This edition: solo part. Concertino. Downloadable, Solo part. Duration 13 minutes. Schott Music - Digital #Q15518. Published by Schott Music - Digital (S9.Q15518). The ‘Divertimento giocoso’ by Harald Genzmer created in 1960 is scored for two woodwind instruments (flutes, recorders or transverse flute and oboe) as solo instruments opposed to the string orchestra. The composer, whose work suits the amateur music-making very much in many respects, succeeded in creating a tonal arrangement that is individual in style. In the first movement, this rhythmically very lively, thematically clearly visible and harmonically interesting though not revolutionary work presents the strings and the solo instruments often entering canonically with an easily remembered -seventh motif; in the second movement, it leads a melody dying away a long time to a dynamic climax, adds harmonic cross relations to a scherzo moving in dance style and closes with a lively vivace movement.“ (Das Liebhaber-orchester).
$5.99 ≈
£4.53
Early Americans
Early Americans
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String Orchestra
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INTERMEDIATE
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Contemporary
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Marsha Chusmir Shapiro
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Early Americans
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Marsha Shapiro
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.963581 Composed by Marsha Chusmir Shapiro. Contemporary. Score and parts. 29 pages. Marsha Shapiro ...
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String Orchestra - Level 3 - Digital Download SKU: A0.963581 Composed by Marsha Chusmir Shapiro. Contemporary. Score and parts. 29 pages. Marsha Shapiro #3866181. Published by Marsha Shapiro (A0.963581). Grade 3: Early Americans is an original composition for string orchestra which depicts the people from three periods of early American development: the era of the Native Americans, the Colonial Period and the time of Westward Expansion. In the first part (I Native Americans), solo celli imitates the beat of a drum over which the first violin plays a plaintive modal melody which is later layered in canonic style by the other strings. The second section (II Colonists) depicts the classical European dance style brought to the colonies with Yankee Doodle superimposed over the top. In the final section, Westward Expansion (III Pioneers) is symbolized by the square dance tune which is also posed in canonic style.
$35.00 ≈
£26.48
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Canon and Dance for Orchestra
