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You've selected:
So Oriental
Sheetmusic to print
29 sheet music found
<
1
26
Tango in A Minor 'Oriental'
Tango in A Minor 'Oriental'
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Piano solo
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INTERMEDIATE/ADVANCED
#
Tango
#
Lena Orsa
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Tango in A Minor 'Oriental'
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Lena Orsa
#
SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.913776 Composed by Lena Orsa. Concert,Holiday,Latin,Standards,Wedding. Score. 6 pages. Lena Orsa #3428929...
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Piano Solo - Level 4 - Digital Download SKU: A0.913776 Composed by Lena Orsa. Concert,Holiday,Latin,Standards,Wedding. Score. 6 pages. Lena Orsa #3428929. Published by Lena Orsa (A0.913776). Tango in A Minor 'Oriental' for pianoDance to inspire, dance to freedom, life is about experiences so dance and let yourself become free. - Shah Asad Rizvi Passionate music for piano.
$5.99 ≈
5.37€
Danza española No.2 : 'Oriental'
Danza española No.2 : 'Oriental'
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2 Guitars (duet)
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Classical
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Enrique Granados
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Erik Otte
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Danza española No.2 : 'Orient
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Erik Otte
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SheetMusicPlus
Guitar,Instrumental Duet - Digital Download SKU: A0.1372030 Composed by Enrique Granados. Arranged by Erik Otte. 19th Century,Chamber,Classical,Romantic ...
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Guitar,Instrumental Duet - Digital Download SKU: A0.1372030 Composed by Enrique Granados. Arranged by Erik Otte. 19th Century,Chamber,Classical,Romantic Period. 9 pages. Erik Otte #956236. Published by Erik Otte (A0.1372030). This beautiful piece of Enrique Granados has been arranged for two guitars by Erik Otte. A very special arrangement since one of the guitars needs a capo, so the key signature is b-minor, that suits this works in all ways.
$11.95 ≈
10.71€
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
#
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...
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
22.41€
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 ≈
22.41€
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 ≈
22.41€
Korean Simple Suite No.3 "Happy Wedding" (For Flute and Piano)
Korean Simple Suite No.3 "Happy Wedding" (For Flute and Piano)
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Violin and Piano
#
INTERMEDIATE/ADVANCED
#
Traditional
#
Han-Ki Kim
#
Korean Simple Suite No.3 "Happ
#
Han-Ki Kim
#
SheetMusicPlus
Piano,Soprano Flute - Level 4 - Digital Download SKU: A0.1211127 Composed by Traditional. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Standar...
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Piano,Soprano Flute - Level 4 - Digital Download SKU: A0.1211127 Composed by Traditional. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Standards,Traditional. Score and part. 36 pages. Han-Ki Kim #808823. Published by Han-Ki Kim (A0.1211127). “Korean Simple Suite†for flute and piano, No. 3 <Happy Wedding> Opus 273 It consists of 5 movements in total, and all movements mainly used the traditional 5 notes of “Do.Re.Mi.So.Ra†as far as the melody is concerned. I described the wedding ceremony of the bride and groom held in the traditional Korean front yard and the surrounding scene. The original music for violin and piano was written and dedicated for the composer's own teacher, the prof. Walter Verdehr. 1st mov. : The Front Yard: In G minor in 8/12 time, it is a short movement with a bright atmosphere. The Korean’s front yard is a friendly place for villagers' gatherings and events.2nd mov. : Yeonzi – Gonzi: In G major in 4/4 time, natural harmonics are used to express the mysterious oriental atmosphere. The meaning of “Yeonji Gonji†is the red dot on the cheeks and forehead of the bride in a Korean traditional wedding ceremony.3rd mov. : Joyful Dance: 3/4 time B flat major, composed in ABA form, expressed the joy of dancing in Korea.4th mov. : Longing: In G minor in 6/4 time, tried to express the feeling of oriental waiting.5th mov. : The Bride and Groom : It is composed of 4/4 time and 6/4 time, and as the title of the title of Groom and Bride, it shows the contrasting character of lively and calm. It was composed in a rondo form that goes back and forth between D minor and F major.Attached music file is only 5th movement, it's just for a reference.
$15.99 ≈
14.33€
Korean Simple Suite No.3 "Happy Wedding"(For Viola and Piano)
Korean Simple Suite No.3 "Happy Wedding"(For Viola and Piano)
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Viola, Piano
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INTERMEDIATE/ADVANCED
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Han-Ki Kim
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Korean Simple Suite No.3 "Happ
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Han-Ki Kim
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SheetMusicPlus
Piano,Viola - Level 4 - Digital Download SKU: A0.557046 Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Wedding. Score and part...
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Piano,Viola - Level 4 - Digital Download SKU: A0.557046 Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Wedding. Score and part. 36 pages. Han-Ki Kim #166508. Published by Han-Ki Kim (A0.557046). “Korean Simple Suite†No.3 For Viola and Piano Op.273C As far as melodies are concerned, the traditional 5 notes of Korean “Do.Re.Mi.Sol.La†are mainly used. It consists of five movements as follows: I tried to express the wedding ceremony of the bride and groom held in a traditional Korean front yard and the surrounding scenery. So, this piece's nick name is Happy Wedding. And Attached music file is only 1st mov. played by Violin just for a reference. 1. The Front Yard 2. Yeonji Gonzi 3. Joyful Dance 4. Waiting (Longing) 5. The Bride and Groom Movement 1, The Front Yard: In G minor in 8/12 time, it is a short song with a bright atmosphere. The front yard is a friendly place for villagers' gatherings and events. Movement 2, Yeonzi – Gonzi: In G major in 4/4 time, natural harmonics are used to describe the mysterious oriental atmosphere. The meaning of Yeonji Gonji is the red dot on the cheeks and forehead of the bride in a traditional wedding ceremony. Movement 3, Joyful Dance: 3/4 time B flat major, composed in ABA format, expressed the joy of dancing in Korea. Movement 4, Longing: In G minor in 6/4 time, we tried to express oriental waiting. Movement 5, The Bride and Groom : It is composed of 4/4 time and 6/4 time, and like the title of the title of Groom and Bride, it shows the contrasting character of liveliness and calm. It was composed in a rondo style that goes back and forth between D minor and F major.
$14.90 ≈
13.35€
An Omani Dance Suite - COMPLETE BUNDLE (Score and all parts)
An Omani Dance Suite - COMPLETE BUNDLE (Score and all parts)
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Choral SATB
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INTERMEDIATE
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Stuart Brown
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An Omani Dance Suite - COMPLET
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Stuart Brown Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brow...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681. Published by Stuart Brown Music (A0.835452). A fantastic offer price for the full score and all parts! ... Looking for something to add a sense of oriental exoticism to your amateur orchestral/choral concert? This may be what you're looking for! This charming little suite of six dances lasts about 15½ minutes. It consists of a Pavane, Bourée, Sarabande, Allemande, Basse Danse and Galliard, which vary widely in character. As a whole the suite provides some interesting challenges for both performers and listeners. Apart from conventional strings, flute and harp (which can be either pedal or lever) you will need:- One or maybe two Arabian ouds. The parts are playable also on a fretless acoustic guitar. (Needs to be fretless because of the quarter-tones in some of the Arabic modes used.)- A cimbalom (the part can be played on a piano also, with slight modification). You might get away with using a hammered dulcimer but you'd need to make a number of compromises.- A doumbek and a djembe. These beautiful drums are a must for Middle-Eastern or African music. They're fairly easy to find, though finding somebody who can play them properly may take a bit more doing!- Finger cymbals and a gong. These are regular western instruments.- A wind-chime. Anything that produces a nice shimmering spangle of sound will probably do!- A group of singers (SATB). Nothing particularly challenging but see below.The primary oud part, the strings and the singers need to have sufficiently good intonation to pitch quarter tones. These are the exception rather than the rule, but nevertheless play an important part in the character of the music. Apart from this, the music is relatively straightforward and probably playable by any reasonably competent amateur or high school orchestra.In the spring of 2020 I wrote a set of short music tracks for a charity of which I'm a trustee. In order to protect my intellectual property rights in the music, I decided to bring it together into an attractive if not intellectually challenging little suite, hence An Omani Dance Suite. Originally the dances were all in Arabic quarter-tone temperament, but obviously quarter-tones cannot be played easily (if at all) on the flute, harp and cimbalom. So I have made some adjustments but retained the Arabic temperament wherever reasonably possible. I had thought initially of using a santur instead of a cimbalom, but the santur lacks the range and the dynamic capability to be used with a string chamber orchestra. The cimbalom doesn't need to be a concert grand model; in fact it doesn't even need to have dampers.The Omani was something of an afterthought: a musician friend of mine had worked in Oman and commented on how authentically Omani the Basse Danse sounded. The period of composition coincided with a time when I was really missing friends in Vietnam and Romania, so somehow influences from those countries found their way into the music.I'm not bothering with performing rights for this - just go away and enjoy the music! ... but if it inspires you find out more about the charity work that inspires me, feel free to get in touch!https://www.facebook.com/stuartbrownmusic/
$30.00 ≈
26.89€
Mediterraneo - Score Only
Mediterraneo - Score Only
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Alicia DomÃnguez Arcos Sona
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Alicia DomÃnguez Arcos
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serious (Dum) and acute (Tek)
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Mediterraneo - Score Only
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Alicia Dominguez
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SheetMusicPlus
Level 2 - Digital Download SKU: A0.1372693 By Alicia DomÃnguez Arcos Sonay. By Joan Manuel Serrat. Arranged by Alicia DomÃnguez Arcos. Film/TV,Mult...
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Level 2 - Digital Download SKU: A0.1372693 By Alicia DomÃnguez Arcos Sonay. By Joan Manuel Serrat. Arranged by Alicia DomÃnguez Arcos. Film/TV,Multicultural,Pop,Praise & Worship,Singer/Songwriter,World. 30 pages. Alicia Dominguez #957004. Published by Alicia Dominguez (A0.1372693). In these 112 measures for the twinning of Istanbul-Algeciras I have wanted to incorporate concepts from both parties, with the respect that the composition of Don Joan Manuel Serrat deserves in which in 1970 he sang “Mare Nostrum†(Nostrum mare more correctly in Latin classic, being one of the popular anthems of Spain and therefore a cultural heritage. Therefore it can be used instrumentally or if required, there is a number in the score of which, although the guitar has a melody and one of the choral voices, with two guitars, or make two choral voices or join with your own melody, use both bowed string instruments and plucked strings, etc.Likewise, there are two voices, of which a single voice can use the phrasings of both one voice and the other, giving it its own personality.The tempo will be whatever the interpretation itself wants, much slower, without accelerating so much between the beginning and the moment of the song itself. I have incorporated some instruments into the arrangement as examples:Buzukibouzouki, like the sazturco and the Lebanese Buzuq, which belong to the same family of Buzuki instruments.And as percussion only percussion The Turkish Darbuka is a percussion musical instrument The Turkish Darbuka is a percussion musical instrument from Turkey. The Turkish Darbuka have a high range of low and high resonant tones that sound between the two registers; serious (Dum) and acute (Tek). The edge or lip allows for finger breaking techniques that are not possible in the Egyptian Darbuka.And the Tombak, also called Dombak Ozarb, is a chalice-shaped drum, traditionally built with a hollowed-out biker or walnut trunk covered with skin at one end.With the beginning and among the work itself I wanted to give place to the Bashraf (Turkish Pesrev and Persian Pishraw, which means Overture) and the Sama'i (Turkish Sam Semai) Instrumental genre that is used in the Turkish court and in Sufi music . They were introduced into the Arab world before the 19th century.And also give place in his forms to the Ottoman composer Ismail Hakkibei (1866-1927). Unite Serrat with Hakkibey with this Istanbul-Algeciras work.Although the Bashraf is always made up of four points, Khanat (Plural Dekhana) or Hanne in Turkish, which are always followed by a chorus (Taslim / Teslim), its structure being Khana 1+ Taslim, Khana 2, Khana 3+ Taslim, Khana 4 + Taslim.The fragments must be incorporated since the main base is the Mediterranean pop theme. For this reason, its original rhythm is the Defâhte (In Arabic, Faakhito Fahitah Turki. Being a 20/4 time signature subdivided into 5 sub-groups of 4/4 where the complete cycle coincides with the phrases of the theme. Without forgetting that in music Arabic with the oriental rhythm Lsaada Duyukde 8/8 making a cycle for each measure of 4/4, that is, cycles per phrase, if those written for Western reading in 4/4 with double durations and simplicity. Unit of time: quarter note , coincides in two phrases of 5 measures per staff for a better understanding of the form of the piece, also within a written Arabic version of the theme the unit of time is eighth note 8/8 in G, but it had to be incorporated into Mediterráneo and it is always It is more feasible to think of the human voice as being more limited than instrumentation such as flute, plucked leather instruments, and bowed string instruments.Instrumentation:FluteGuitar 1 (1st voice melody)Guitar 2 (2nd voice melody)Bass (accompaniment and chords)BuzukiSazDarbukaTombakVoice 1st2nd voiceSMATB Voices1st violin2nd violinViolaCellosDouble basses.
$9.00 ≈
8.07€
Dragonflies
Dragonflies
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Choral Unison
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BEGINNER
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Carol Troutman Wiggins
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Dragonflies
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Carol Troutman Wiggins
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SheetMusicPlus
Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.727312 Composed by Carol Troutman Wiggins. Children,Contemporary,Instructional,Multicultural,N...
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Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.727312 Composed by Carol Troutman Wiggins. Children,Contemporary,Instructional,Multicultural,New Age,World. Octavo. 4 pages. Carol Troutman Wiggins #3450369. Published by Carol Troutman Wiggins (A0.727312). Dragonfliesw/Finger Cymbals, Triangles, Gong, and/or Kazoos This lovely tune about dragonflies describes how they fly so lightly in the air, stop on a flower petal, wait . . . and then take off again to a faraway place. Oriental flavor.Excellent for elementary & younger middle school studentsAdd finger cymbals, triangles, gong, or kazoosInstrument cues included in scoreChords included fo additional instrumentsPiano Accompaniment track available on this site.
$2.50 ≈
2.24€
Alexandriana for Percussion Ensemble
Alexandriana for Percussion Ensemble
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Percussion Ensemble
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ADVANCED
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Dan Heslink
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Alexandriana for Percussion En
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Pharaoh Publications
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SheetMusicPlus
Percussion Ensemble - Level 5 - Digital Download SKU: A0.937755 Composed by Dan Heslink. Contemporary,World. Score and parts. 128 pages. Pharaoh Publicat...
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.937755 Composed by Dan Heslink. Contemporary,World. Score and parts. 128 pages. Pharaoh Publications #5983475. Published by Pharaoh Publications (A0.937755). Alexandriana for percussion ensemble (12 performers) by Dan Heslink The term Alexandriana is popularly used to reference the Great Library of antiquity in Alexandria, Egypt. Rooted in Alexander the Great’s global military and exploratory exploits (334 - 323 BCE), the library symbolizes the ancient Greek ever expanding worldview, especially under the influence of Alexander and his tutor, Aristotle. Alexander died long before construction of the Ancient Museum and Library of Alexandria, but the concept of a universal library was uniquely his. The mixing of Hellenistic columns with Egyptian architecture and the housing of thousands of scrolls in Greek, Turkish, Babylonian, Egyptian and Hebrew, intensify the division of the library broadly into two large sections, one for eastern knowledge and one for western knowledge. In this musical score, typically western is the thematic concept (expressed most clearly in the chimes), the tonal, triadic-based harmony and sectional concept of form. The music’s sectional nature parallels the library’s different rooms, each containing their own genre of knowledge (history, mathematics, poetry, etc.) Evocative of eastern musical practices are the simultaneous layers of different rhythmic subdivisions, oriental modes, and florid lines in the xylophone and vibe parts. In this score, eastern musical procedures are expressed with instruments commonly found in the Western orchestra or wind band. The performers are encouraged to always emphasize the score’s contrasts. Passages for indefinitely pitched percussion featuring the song within the drums contrast with other passages of purely quantitative rhythm. Complexity in the interaction of parts contrast with simple rhythmic unison. Passages of thick harmony contrast with modal monophonic melodies accompanied only by indefinitely pitched sounds. Overall, there is a wide dynamic range. During long passages of gradually accruing energy, take care to not build dynamics too quickly, and during fortissimo passages, drums should be stroked in a manner that avoids excessive aggression. The rhythmic background of 16th notes must be consistent among all players so that interlocking rhythmic motifs are consistent. Often the tom-toms have melodic passages that imitate the shape of mallet or timpani melodies. Tune the drums for a warm, round sound and select mallets accordingly. Bar percussion players should apply a flowing legato to their passage work. Soft sections are intended to sound mysterious: be sure to use mallets that match that character. The composer assigns a performance level of difficult to this work. Performance time is 9:15. The composer, Dan Heslink, can be reached at dan@dheslink.com.
$9.99 ≈
8.95€
Korean Simple Suite No.2 (For Clarinet and Piano)
Korean Simple Suite No.2 (For Clarinet and Piano)
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Clarinet and Piano
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INTERMEDIATE/ADVANCED
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Traditional
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Han-Ki Kim
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Korean Simple Suite No.2
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Han-Ki Kim
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 4 - Digital Download SKU: A0.1218986 Composed by Traditional. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Stand...
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B-Flat Clarinet,Piano - Level 4 - Digital Download SKU: A0.1218986 Composed by Traditional. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Standards,Traditional. Score and part. 33 pages. Han-Ki Kim #815402. Published by Han-Ki Kim (A0.1218986). “Korean Simple Suite†No.2 For Clarinet and Piano Op.272 As far as the melodic line is concerned, The traditional five notes “Do.Re.Mi.Sol.La.†of Korea were mainly used, And, It consists of five movements as follows. 1. Prologue - Ungki Dungki 2. Sound of Piri 3. Cheerful Semachi 4. Meditation 5. Finale - Perpetuum Mobil1. Prologue - “Ungki Dungkiâ€: In D major in 6/4 time, it is a short song with a bright atmosphere. The meaning of “Ungki Dungki†refers to the body movements that show Koreans' excitement during fun.2. Sound of Piri: In G major in 4/4 time, the natural harmonics of string instruments are partially used to describe the sound of oriental flutes.3. Cheerful Semachi : In D major in 9/8 time, we tried to express Korean excitement using our traditional semachi rhythm.4. Meditation : In G minor in 4/4 time, I tried to express sadness.5. Finale - Perpetuum Mobil: In D major in 4/4 time, it is played at a very high speed with 16th notes and forms the melody line of small fragments of Do,Re,Mi,So,La.
$15.90 ≈
14.25€
Viola Sonata No.1
Viola Sonata No.1
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Viola, Piano
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ADVANCED
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Han-Ki Kim
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Viola Sonata No.1
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Han-Ki Kim
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SheetMusicPlus
Piano,Viola - Level 5 - Digital Download SKU: A0.518943 Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Traditional. Score and ...
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Piano,Viola - Level 5 - Digital Download SKU: A0.518943 Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Traditional. Score and part. 37 pages. Han-Ki Kim #129615. Published by Han-Ki Kim (A0.518943). Viola Sonata No.1 “KangKangSullae†For Viola and Piano Sonata No. 1 has the name “KangKangSullaeâ€, and the composer is like any other composer. “What does it mean to be Korean music?†With the question, he is trying to compose such works. A Korean work means a work that contains Korean emotions and spirit, and the melody of “KangKangSullae†has been handed down through a long history to this day, so it can be said that it is a keepsake containing the soul of Korea. With this in mind, the theme of “KangKangSullae†was cited in the 4th movement, and it was named as a representative name for the sonata as an element that forms the basic character of this movement. For reference, the origin of “KangKangSullae†is from women's circular dance. It was because they valued the relationship between each other. They held hands, sang and danced, and it was a representative event to commemorate the full moon and the harvest. The first movement is in 6/8 time, and two contrasting themes, masculine and feminine, appear in normal sonata form. But, in this sonata, two contrasting themes, eastern and western, develop. The second movement crosses the natural harmonics of the violin and the normal playing method in 4/4 time, and expresses oriental excellence and emotion. The third movement is composed in a short ABA form with a humorous lightness and weight in 3/8 time. The fourth movement quoted the theme of “KangKangSullae†in 8/12 time, and was composed in the form of variations that change with various personalities, sometimes solemnly, sometimes sobbing, calmly, etc.
$14.99 ≈
13.43€
Spring Solilioquy - Violin
Spring Solilioquy - Violin
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Violin and Piano
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INTERMEDIATE
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Richard E Brown
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Grade 4
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Spring Solilioquy - Violin
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Dacker Music
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SheetMusicPlus
Piano,Violin - Level 3 - Digital Download SKU: A0.814688 Composed by Richard E Brown. Concert,Contemporary,Standards,World. 14 pages. Dacker Music #29591...
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Piano,Violin - Level 3 - Digital Download SKU: A0.814688 Composed by Richard E Brown. Concert,Contemporary,Standards,World. 14 pages. Dacker Music #2959127. Published by Dacker Music (A0.814688). Spring Soliloquy is a lyrical piece for violin and piano, written as a wedding gift for a Chinese colleague when I was teaching in China, so it deliberately has sort of an oriental sound. Grade 4 - Duration 4:00
$6.50 ≈
5.83€
We Three Kings-v2 ("Jump Start" 3 for 1 Arrangements) - Christmas
We Three Kings-v2 ("Jump Start" 3 for 1 Arrangements) - Christmas
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Easy Piano
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EASY
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Christmas
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John Hopkins Jr
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Dr Jerry Nelson
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We Three Kings-v2
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Jerry Nelson
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SheetMusicPlus
Easy Piano - Level 2 - Digital Download SKU: A0.874888 Composed by John Hopkins Jr. Arranged by Dr Jerry Nelson. Christian,Christmas,Concert,World. Score...
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Easy Piano - Level 2 - Digital Download SKU: A0.874888 Composed by John Hopkins Jr. Arranged by Dr Jerry Nelson. Christian,Christmas,Concert,World. Score. 11 pages. Jerry Nelson #3632485. Published by Jerry Nelson (A0.874888). Receive all 3 arrangement levels (+ Written Accompaniment) for the price of one! Stair-step from Level 1....to 2....to 3. (Audio Demo is Level 3). Three Accompaniment Options: 1) As an unaccompanied Standalone, 2 ) Use the included Written Accompaniment 3) Use the colorful Performance Track (#SO.414337) to add energy and develop tempo control. Most students will never learn to play steady!!!!!! Using the Performance Track will change that. And this track has authentic Eastern flavor. BONUS: The Discovery Zone explores what makes music sound Oriental. (Time 1:58) .
$4.99 ≈
4.47€
We Three Kings-v2 ("Jump Start" 3 for 1 Arrangements) - Christmas
We Three Kings-v2 ("Jump Start" 3 for 1 Arrangements) - Christmas
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Easy Piano
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BEGINNER
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Christmas
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John Hopkins Jr
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Dr Jerry Nelson
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2
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We Three Kings-v2
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Jerry Nelson
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SheetMusicPlus
Easy Piano - Level 1 - Digital Download SKU: A0.874889 Composed by John Hopkins Jr. Arranged by Dr Jerry Nelson. Christian,Christmas,Concert,World. Score...
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Easy Piano - Level 1 - Digital Download SKU: A0.874889 Composed by John Hopkins Jr. Arranged by Dr Jerry Nelson. Christian,Christmas,Concert,World. Score. 11 pages. Jerry Nelson #3632489. Published by Jerry Nelson (A0.874889). Receive all 3 arrangement levels (+Written Accompaniment) for the price of one! Stair-step from Level 1....to 2....to 3. (Audio Demo is Level 3). Three Accompaniment Options: 1) As an unaccompanied Standalone, 2 ) Use the included Written Accompaniment 3) Use the colorful Performance Track (#SO.414337) to add energy and develop tempo control. Most students will never learn to play steady!!!!!! Using the Performance Track will change that. And this track has authentic Eastern flavor. BONUS: The Discovery Zone explores what makes music sound Oriental. (Time 1:58) .
$4.99 ≈
4.47€
Dragonflies (Piano Accompanimemnt Track)
Dragonflies (Piano Accompanimemnt Track)
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Carol Troutman Wiggins
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Dragonflies
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Carol Troutman Wiggins
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SheetMusicPlus
Choir,Piano - Digital Download SKU: A0.1065521 Composed by Carol Troutman Wiggins. Children,Instructional,Standards,World. Accompaniment. Duration 110. C...
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Choir,Piano - Digital Download SKU: A0.1065521 Composed by Carol Troutman Wiggins. Children,Instructional,Standards,World. Accompaniment. Duration 110. Carol Troutman Wiggins #3450373. Published by Carol Troutman Wiggins (A0.1065521). Dragonfliesw/Finger Cymbals, Triangles, Gong, and/or KazoosThis lovely tune about dragonflies describes how they fly so lightly in the air, stop on a flower petal, wait . . . and then take off again to a faraway place. Oriental flavor.Excellent for elementary & younger middle school studentsAdd finger cymbals, triangles, gong, or kazoosInstrument cues included in scoreChords included fo additional instruments.
$5.99 ≈
5.37€
Symphony No.1
Symphony No.1
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Orchestra
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INTERMEDIATE/ADVANCED
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Han-Ki Kim
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Symphony No.1
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Han-Ki Kim
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.511812 Composed by Han-Ki Kim. Classical,Contemporary,Multicultural,Standards,World. Score and parts....
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Full Orchestra - Level 4 - Digital Download SKU: A0.511812 Composed by Han-Ki Kim. Classical,Contemporary,Multicultural,Standards,World. Score and parts. 186 pages. Han-Ki Kim #6440929. Published by Han-Ki Kim (A0.511812). Symphony No.1 “KangKangSullae†Symphony No. 1 has the name “KangKangSullaeâ€, and the composer is like any other korean composer. “What does it mean to be Korean?†With the question, he is trying to compose such works. A Korean work means a work that contains Korean emotions and spirit, and the melody of “KangKangSullae†has been handed down through a long history to this day, so it can be said that it is a keepsake containing the soul of Korea. With this in mind, the theme of “KangKangSullae†was cited in the 4th movement, and it was named as a representative name for the Symphony as an element that forms the basic character of this movement.For reference, the origin of “KangKangSullae†is from women's circular dance. It was because they valued the relationship between each other. They held hands, sang and danced, and it was a representative event to commemorate the full moon and the harvest.The first movement is in 6/8 time, and two contrasting themes, masculine and feminine, appear in normal sonata form.The second movement crosses the natural harmonics of the violin and the normal playing method in 4/4 time, expressing oriental excellence and emotion.The third movement is composed in a short ABA form with a humorous lightness and weight in 3/8 time.The fourth movement quoted the theme of “Ganggangsullae†in 8/12 time, and was composed in the form of variations that change with various personalities, sometimes majestic, sometimes sobbing, calmly, etc.Attached Music file is only 1st. movement, it's just for a reference.
$45.00 ≈
40.33€
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
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Alto Saxophone and Piano
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ADVANCED
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Classical
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Contemporary
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Nikolay Andreyevich Rimsky-Kor
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James M
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Korsakov: Flight of the Bumble
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. In...
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Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473685. Published by jmsgu3 (A0.549254). Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Of course, Korsakov intended to portray a bumblebee's chaotic flying pattern musically. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears occasionally in popular culture. The piece appears notably in the opera at the close of Act III, Tableau 1. This is when the magic Swan-Bird changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive. Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions- Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite- are essential monuments of the standard music repertoire. Also comparatively very important are his suites and excerpts from his 15 operas. Korsakov used Russian folklore and fairy tales, such as Scheherazade, in his music. Nationalistic Style Like fellow outspoken composer Balakirev, Korsakov believed in creating a nationalistic, Russia-centric style of classical music. The new style was called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic, and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education. He mastered Western methods, incorporating them with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which heightened his orchestration capabilities. Legacy In due time, Korsakov contributed a significant number of Russian nationalist works. He also prepared, occasionally, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers as a music educator. Therefore, music historians consider Korsakov the foremost engineer of what the public considers the Russian composition style. He served as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
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