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Concert Band - Digital Download SKU: AX.00-PC-0014917_WPTBBBC (wp) B-flat Tuba B.C.. Composed by Manuel de Falla. Arranged by Michael Story. Classical. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014917_wpTBBBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014917_WPTBBBC). UPC: 038081410104.From de Falla's ballet El Amor Brujo the very familiar Ritual Fire Dance is scored especially for your young band from the pen of Michael Story. Beginning with the haunting sound of low trilling clarinets, the melody is initially stated by the alto voices. The dance in the opera takes place before a campfire and increases in energy and speed to a frenzied climax. A big sounding setting for your developing band! This title is available in SmartMusic.
Ritual Fire Dance (From El Amor Brujo): (wp) B-flat Tuba B.C.
Orchestre d'harmonie

$3.00 2.51 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Digital Download SKU: AX.00-PC-0014917_WPTN1TC (wp) 1st B-flat Trombone T.C.. Composed by Manuel de Falla. Arranged by Michael Story. Classical. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014917_wpTN1TC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014917_WPTN1TC). UPC: 038081410104.From de Falla's ballet El Amor Brujo the very familiar Ritual Fire Dance is scored especially for your young band from the pen of Michael Story. Beginning with the haunting sound of low trilling clarinets, the melody is initially stated by the alto voices. The dance in the opera takes place before a campfire and increases in energy and speed to a frenzied climax. A big sounding setting for your developing band! This title is available in SmartMusic.
Ritual Fire Dance (From El Amor Brujo): (wp) 1st B-flat Trombone T.C.
Orchestre d'harmonie

$3.00 2.51 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Digital Download SKU: AX.00-PC-0014917_WPTBETC (wp) E-flat Tuba T.C.. Composed by Manuel de Falla. Arranged by Michael Story. Classical. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014917_wpTBETC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014917_WPTBETC). UPC: 038081410104.From de Falla's ballet El Amor Brujo the very familiar Ritual Fire Dance is scored especially for your young band from the pen of Michael Story. Beginning with the haunting sound of low trilling clarinets, the melody is initially stated by the alto voices. The dance in the opera takes place before a campfire and increases in energy and speed to a frenzied climax. A big sounding setting for your developing band! This title is available in SmartMusic.
Ritual Fire Dance (From El Amor Brujo): (wp) E-flat Tuba T.C.
Orchestre d'harmonie

$3.00 2.51 € Orchestre d'harmonie PDF SheetMusicPlus

String Orchestra - Level 3 - Digital Download SKU: A0.927841 Composed by Manuel de Falla. Arranged by Gianmaria Griglio. Romantic Period. Score and parts. 17 pages. Gianmaria Griglio #4966017. Published by Gianmaria Griglio (A0.927841). First song in the cycle Siete canciones populares españolas, with El paño moruno De Falla throws the listener right into the Spanish folksong tradition. This incredibly popular cycle has been arranged for a number of instruments over the years but is rarely perfomed without the voice. Here it is in an arrangement for string orchestra without voice.For more information and analysis of this piece you can see this post: https://www.gianmariagriglio.it/el-pano-moruno/
El paño moruno - arr. for string orchestra
Orchestre à Cordes

$6.99 5.84 € Orchestre à Cordes PDF SheetMusicPlus

Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.817128 Composed by Enrique Granados. Arranged by Charles Decker. 19th Century,Chamber,Multicultural,Romantic Period,World. 59 pages. Charles Decker Music Press #3563751. Published by Charles Decker Music Press (A0.817128). Here is classic music of Spain from 1890 by virtuoso pianist and composer Enrique Granados whose music influenced future generations of musicians from his homeland including Manuel de Falla. These three, spirited dances capture Spanish flare with quickly shifting moods and showcase the exciting brilliance of brass guaranteed to impress audiences. The arrangement is scored for two trumpets in B-flat with alternate C trumpet parts, horn in F, trombone and tuba. The audio file is an actual brass quintet performance of the entire arrangement and not a computer playback of the score. See more than 70 mixed brass ensemble publications at Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. See also 40+ homogeneous brass group editions at Charles Decker Music Press for horn, trumpet and trombone ensembles. Check out our Music of Black Composers Series with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition.  For more of my brass quintet editions use these links to Kendor Music and Cherry Classics Music to see listings of my arrangements of music by J.S. Bach, H.L. Clarke, Debussy, Dukas, Elgar, Falla, Holst, Ives, Nestico, Rachmaninoff, Satie, and Tchaikovsky.
Three Spanish Dances for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba

$16.95 14.16 € Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba PDF SheetMusicPlus

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. â€˜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.
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestre

$25.00 20.88 € Orchestre PDF SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.1281191 Composed by Wanda Landowska. Arranged by Zellev. 20th Century,Classical,Contemporary,Folk,New Age. Score. 7 pages. Zellev Music #872533. Published by Zellev Music (A0.1281191). Key Signature: Fâ?¯ minorTime Signature: 3/4Tempo: Allegro vivace (143)Difficulty: AdvancedWanda Landowska (July 5, 1879 - August 16, 1959) was a Polish harpsichordist and composer who led the revival of the popularity of the harpsichord in the early 1900s. She was one of the earliest advocates and scholars on historically informed performance practices, and she made the first-ever recording of J.S. Bach's Goldberg Variations on the harpsichord.Landowska was born in Warsaw in 1879 and started playing the piano when she was four years old. As a child, she studied with Jan KleczyÅ?ski and then Aleksander Michalowski. Kleczynski noticed in her lessons that she had an affinity for older Baroque music, and he didn't want to impose his sensibilities onto the already apparent musical prodigy. Consequently, her mother decided that Kleczynski was too lenient of a teacher and sent her to study with the stricter Michalowski, who was a Chopin specialist. When she was 16 years old, Landowska moved to Berlin to study composition with Heinrich Urban, but was discouraged by the rigid curriculum. However, while in Berlin she composed songs and orchestral works, and she met her future husband, Henry Lew. In 1900, the young couple moved to Paris and got married. There she became associated with the Schola Cantorum, and was introduced to Vincent D'Indy, Albert Schweitzer, and other prominent performers and musicologists of the era.Throughout the next ten years, Landowska toured Europe and Russia, and dedicated herself to researching the authentic performance practices of older music. Her husband assisted her in this research, and they often utilized libraries that they encountered while touring. She concluded that it's more appropriate to play Baroque keyboard music on the harpsichord rather than on the piano. By 1909, Landowska and her husband published the book Musique Ancienne, which was the culmination of all of their research regarding the performance practices of Baroque music. She also started teaching harpsichord classes in 1913 at the Hochschule für Musik in Berlin.Ten years later, Landowska made her debut in the United States, performing with the Philadelphia Orchestra conducted by Stokowski. Also in 1923, she performed in the world premiere of Manuel de Falla's El retablo de maese Pedro, where she met Francis Poulenc and asked him to write a harpsichord concerto for her. She also commissioned a concerto from Falla in 1925, which would prove to be a modern masterpiece. In 1929, Landowska performed the premiere of Poulenc's Concert champêtre in Paris. By this time, she had settled in a town north of Paris, and was teaching from her school L'Ã?cole de Musique Ancienne, which she established in 1925. She offered private and group courses and an annual summer concert series that was very popular. Landowska taught and performed in this capacity until 1940, when she had to abandon the school, her extensive library, and her home because of World War II. With the assistance of her student Denise Restout, she escaped to Portugal and then sailed to the United States, and eventually settled in Lakeville, Connecticut. She continued to perform and teach in the U.S., and at the age of 70 she recorded the complete Well-Tempered Clavier, which was highly acclaimed. Landowska was 80 years old when she passed away in Lakeville in 1959.
Feu follet
Piano seul
1909, Landowska and her husband published the book Musique Ancienne, which was the culmination of all of their research regarding the performance practices of Baroque music She also started teaching harpsichord classes in 1913 at the Hochschule für Musik in Berlin
$3.79 3.17 € Piano seul PDF SheetMusicPlus


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