C Instrument - Digital Download SKU: A0.1259046 Composed by Frederic Chopin. Arranged by Darek. 19th Century,Classical,Romantic Period. Lead Sheet / Fake Book. 1 pages. Darek #852309. Published by Darek (A0.1259046). Nocturne in Eb Major, Op. 9, No. 2 (LEAD SHEET) [Frédéric Chopin]Lead Sheet arrangements of Nocturne in Eb Major, Op. 9, No. 2 by Frédéric Chopin (Frederic Francois Chopin) on various instruments.  I offer a stunning selection of lead sheets for the timeless Nocturne in Eb Major, Op. 9, No. 2 by the legendary composer Frédéric Chopin. If you're looking to explore this masterpiece on your instrument of choice, you've come to the right place. My lead sheets cater to a variety of instruments, allowing musicians of all backgrounds and skill levels to engage with this iconic composition. From piano and guitar to saxophone, trumpet, and more, you'll find the arrangement that suits your instrument and musical style. Unlock the expressive beauty of Chopin's Nocturne as you navigate the enchanting melodies and harmonies meticulously transcribed in my lead sheets. Each note, chord, and phrase is carefully notated, capturing the essence of the original composition. Whether you're a beginner, intermediate, or advanced musician, my lead sheets accommodate various levels of difficulty, ensuring an enjoyable and rewarding experience for all players. Embrace the challenge and embark on a musical journey that will enhance your skills and deepen your understanding of Chopin's artistry. Immerse yourself in the romantic era, where Chopin's Nocturne captivated audiences with its emotional depth and timeless melodies. Experience the magic of this composition, transporting yourself to a bygone era of music and craftsmanship. Positioned as a versatile resource, my lead sheets offer a convenient and accessible way to explore Chopin's Nocturne across a range of instruments. Whether you're seeking to perform solo or collaborate with fellow musicians, these lead sheets provide a solid foundation for creative expression and collaboration. Discover the joy of interpreting Chopin's Nocturne on your instrument, as my lead sheets provide the framework for your musical journey. Dive into the intricacies of the composition, exploring its nuances and bringing your unique interpretation to life. Explore the world of music with my lead sheets for the Nocturne in Eb Major, Op. 9, No. 2. Unleash your creativity, showcase your skills, and let the magic of Chopin's masterpiece resonate through your instrument. Begin your musical adventure today and unlock the limitless possibilities of this timeless composition.

Piano Accompaniment, Clarinet - Advanced Intermediate - Digital Download Composed by Frederic Chopin (1810-1849). Arranged by Seunghee Lee. Romantic Period, Anniversary, Wedding, Funeral, Recital. Piano Reduction, Score, Solo Part. 6 pages. Published by Musica Solis

Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com

Piano Solo - Level 5 - Digital Download SKU: A0.1491911 Composed by Isabella Turso. 21st Century,Classical,Contemporary,Film/TV,New Age. Score. 44 pages. Bluebelldisc Press #1068592. Published by Bluebelldisc Press (A0.1491911). Original piano sheet music of Nocturne, the new solo piano album by Italian pianist and composer ISABELLA TURSO.Nocturne is recorded and available on Bluebelldisc digital album and compact disc: https://isabellaturso.lnk.to/Nocturnehttps://www.bluebelldiscmusic.it/product/nocturne/All works have been composed and performed by Isabella Turso and published by Bluebelldisc Music and Bollettino Edizioni Musicali. TINA GUO, Chino-American cellist, is the special guest star in the recording performance of the track Nightfall.https://www.isabellaturso.com/https://www.bluebelldiscmusic.it/ Released by Bluebelldisc Press - BPP DMB 2441 on August 19, 2024 Impressum (c) 2024 Bluebelldisc Music All Rights Reserved

Piano Solo - Level 4 - Digital Download SKU: A0.1143547 By Frederic Chopin. By Frederic Chopin. Arranged by Frederic Chopin. Classical,Contemporary,Romantic Period. Score. 3 pages. Unimusic Academy (Academia Unimusica) #743864. Published by Unimusic Academy (Academia Unimusica) (A0.1143547). Chopin composed his best-known Nocturne in Eâ™­ major, Op. 9, No. 2 when he was around twenty years old. This well-known nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. It is 34 measures long and written in 12 8 meter, having a similar structure to a waltz. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). The nocturne opens with a legato melody, mostly played piano (quietly), containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato. A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz-like accompaniment gently emphasizes the 12 8 meter, 12 beats to the measure subdivided into four groups of 3 beats each.

Piano Solo - Level 4 - Digital Download SKU: A0.1076513 By Ethan Lazarus. By Ethan Lazarus. Classical,Contemporary,Jazz. Score. 6 pages. Ethan Lazarus #680671. Published by Ethan Lazarus (A0.1076513). I have always been a huge fan of Frédéric Chopin, and in particular, his Nocturnes for solo piano. I believe these redefined what classical piano was capable of. However, he never wrote one in the key of C Sharp Major. While I realize I will never possess the skill of one of the best composers of all time, I intended this piece to be reminiscent of his style. It starts with a beautiful flowing left hand in triplets, with lots of modal changes and jazzy chord substitutions before transitioning to a middle passage in 3/4. You will love this beautiful Nocturne in C# Major.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles KÅ“chlin in 1973.   Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles KÅ“chlin and Erik Satie, as well as numerous articles, editions and reviews.   As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.

Piano Solo - Level 2 - Digital Download SKU: A0.1306666 By Menahem Pressler. By Frederic Chopin. Romantic Period. Score. 3 pages. Polly #895995. Published by Polly (A0.1306666). This Nocturne is known for its lyrical and expressive melody. It's a relatively short piece, but it's filled with emotional depth. The left-hand accompaniment provides a simple and gentle backdrop to the flowing and poignant melody in the right hand. The piece captures a mood of introspection and reflection, which is a hallmark of Chopin's Nocturnes.Chopin's Nocturne in C-sharp minor is beloved by both pianists and listeners for its evocative and haunting character. It remains a timeless and cherished work in the classical piano repertoire and is often performed in recitals and recorded by various pianists.Key: C-sharp minorTime Signature: 4/4Tempo: Lento (slowly)Opus Number: Op. posth. (posthumous), as it was published after Chopin's deathDate of Composition: Likely composed in 1830, it was published in 1870.

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352). PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809–1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term “twelve-tone tonality� to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.

Composed by Frederic Chopin (1810-1849). Arranged by Mikio Kamada. Romantic Period. Score, Solo Part. 6 pages. Published by ACORDO Sheet Music (S0.130465). - Score,Solo Part - Romantic Period - ACORDO Sheet Music

Composed by Frederic Chopin (1810-1849). Arranged by Mikio Kamada. Romantic Period. Score, Solo Part. 6 pages. Published by ACORDO Sheet Music (S0.130463). - Score,Solo Part - Romantic Period - ACORDO Sheet Music

Composed by Frederic Chopin (1810-1849). Arranged by Mikio Kamada. Romantic Period. Score, Solo Part. 6 pages. Published by ACORDO Sheet Music (S0.130445). - Score,Solo Part - Romantic Period - ACORDO Sheet Music

Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1226560 By Frederic Chopin. By Frederic Chopin. Arranged by Rod Whittle. 19th Century,Classical. Individual part. 3 pages. Maggie Creek Music #820564. Published by Maggie Creek Music (A0.1226560). The Nocturne in C# minor is a famous piano piece Chopin wrote for for his older sister as a study. It was published posthumously. It's a gem, perfectly formed and sparkling with macthless Chopin melodies. I've been faithful to the piano score, allowing for some simplification of pianistic effects. It's at an intermediate playing level, which the transposition to Am facilitates.

Instrumental Duet Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.802607 Composed by Frederic Chopin. Arranged by Peet du Toit. Contemporary. Score and parts. 4 pages. Peet du Toit #5982425. Published by Peet du Toit (A0.802607). The Nocturne No. 20 in C- sharp minor, Op. posth., Lento con gran expressione, P 1, No. 1, No. 16, KKIVa/16, is a solo piano piece composed by Frédéric Chopin in 1830 and published in 1870.Chopin dedicated this work to his older sister Ludwika Chopin, with the statement: To my sister Ludwika as an exercise before beginning the study of my second Concerto. First published 21 years after the composer's death, the piece is usually referred to as Lento con gran espressione, from its tempo marking. It is sometimes also called Reminiscence. The piece was played by Holocaust survivor Natalia Karp for the Nazi concentration camp commandant Amon Goeth, with Goeth being so impressed with the rendition that he spared Karp's life.This was also the piece played by Holocaust survivor and famed Polish pianist WÅ‚adysÅ‚aw Szpilman (the central figure of the 2002 Roman Polanski film The Pianist) during the last live broadcast of Polish radio on September 23, 1939 when Warsaw was besieged by the German army. Years later Szpilman also played this piece for German army officer Wilm Hosenfeld upon their first meeting, though in the corresponding film scene Szpilman plays an abridged version of Chopin's Ballade No. 1 in G minor, Op. 23. Hosenfeld later helped Szpilman hide and provided food to him in the last months of the war.It's been many years I've been inspired by this music after seeing violinist Midori (at age 12) having performed this (watch https://www.youtube.com/watch?v=Bw0UH1UXJVg ). So, here is my attempt for a string duo. Enjoy!

Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles KÅ“chlin in 1973.   Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles KÅ“chlin and Erik Satie, as well as numerous articles, editions and reviews.   As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.