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in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées).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.

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.  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. Th.

Viola Solo - Level 2 - Digital Download SKU: A0.1237587 By Ricky Martin Featuring Maluma. By Anne Wik, Carl Ryden, Enrique Martin, Juan Luis Londono Arias, Justin Stein, Lars Pedersen, Mauricio Reglero Rodriguez, Nermin Harambasic, Ricardo Andres Reglero, and Ronny Svendsen. Arranged by Musikeo. Contest,Disco,Festival,Latin,Multicultural,Pop,World. Individual part. 1 pages. Musikeo #833104. Published by Musikeo (A0.1237587). Vente Pa' Ca (transl. Come Over Here) is a song recorded by Puerto Rican singer Ricky Martin, featuring a guest appearance from Colombian singer Maluma. It was written by Justin Stein, Martin, Maluma, Nermin Harambašić, Anne Judith Wik, Carl Ryden, CheifOne, Mau y Ricky, and Ronny Svendsen, while the production was handled by Alexander Castillo. The song was released for digital download and streaming as a single by Sony Music Latin on September 23, 2016. A Spanish language reggaeton and pop song, it contains various sexual innuendos. The song received widely positive reviews from music critics, who complimented its danceable rhythm and fusion of genres. It was ranked as one of the best Latin songs of the year by multiple publications, including The Guardian.The song was nominated for the awards of Record of the Year and Song of the Year at the 18th Annual Latin Grammy Awards. Vente Pa' Ca was one of the most commercially successful Spanish-language songs of 2016, reaching number one in seven countries, including Argentina and Mexico, as well as the top five in Spain and on the Billboard Hot Latin Songs chart in the United States. It also reached the summit of the Billboard Latin Airplay, Latin Pop Airplay, and Tropical Airplay charts. Additionally, it was ranked among the top 10 best performing songs of 2017 in six Latin American countries. The song has received several certifications, including quadruple platinum in Spain.An accompanying music video, released simultaneously with the song, was directed by Jessy Terrero and filmed at the SLS South Beach Hotel in Miami Beach, Florida. It depicts several parties in different locations in the hotel and has received over 1.8 billion views on YouTube. To promote Vente Pa' Ca, Martin and Maluma performed it on several television programs and award shows, including both the Premio Lo Nuestro and the Premios Juventud in 2017. Multiple contestants on various music talent shows have covered the song, including Patricia Manterola and Màxim Huerta. Several remixes and other versions have accompanied the song, such as English versions featuring Delta Goodrem, and Wendy of Red Velvet. The latter reached number one on Melon's international music chart.Musically, Vente Pa' Ca is a Spanish language upbeat reggaeton and pop song, written by Justin Stein, Martin, Maluma, Nermin Harambašić, Anne Judith Wik, Carl Ryden, CheifOne, Mau y Ricky, and Ronny Svendsen. Its production was handled by Alexander Castillo, and the song features elements of vallenato and Latin music. The track runs for a total of 4 minutes and 19 seconds, and Billboard described it as a party track set over a sultry reggaetón beat.Lyrically, Vente Pa' Ca which translates to Come Here in English, contains various sexual innuendos, with lyrics including, Si tú quieres nos bañamos / Si tú quieres nos soplamos / Pa secarnos lo mojao / Si tu boca quiere beso / Y tu cuerpo quiere de eso / Arreglamos (If you want we can swim / If you want we can dry ourselves / If your mouth wants a kiss / And your body wants that / Then we can manage).Vente Pa' Ca was one of the biggest Spanish-language songs of 2016. The song debuted at number four on the US Billboard Hot Latin Songs chart on October 15, 2016, with a first-week tally of 5,000 downloads sold, 1.1 million streams, and 14 million radio impressions.

Piano Solo - Level 3 - Digital Download SKU: A0.1375107 Composed by Enrique Granados. Arranged by Thomas Ling. 19th Century,Instructional,Romantic Period. Score. 2 pages. Thomas Swee Chin #959678. Published by Thomas Swee Chin (A0.1375107). Listed as grade 6 piano piece by the ABRSM:Valse Poético No. 6 by Enrique Granados is a captivating piece that exhibits his mastery of melodic storytelling and rhythmic intricacies. Here's an analysis of its key elements:Melodic Flourishes: The piece begins with a graceful melody that sets a serene atmosphere. Granados employs lush harmonic progressions and delicate ornamentation to enhance the melodic line, evoking a sense of elegance and charm.Rhythmic Variations: Throughout the waltz, Granados introduces rhythmic variations that add depth and complexity to the piece. Syncopated rhythms and subtle accents create a sense of forward momentum, while rubato passages allow for expressive freedom and phrasing flexibility.Dynamic Contrast: Valse Poético No. 6 features a wide range of dynamic contrasts, from tender pianissimo passages to bold fortissimo sections. These shifts in dynamics contribute to the piece's dramatic intensity and emotional impact, keeping the listener engaged from start to finish.Spanish Influence: As with much of Granados' work, Valse Poético No. 6 is imbued with Spanish flair. You may notice hints of flamenco rhythms, Moorish-inspired melodies, and Andalusian harmonies, all of which reflect Granados' deep connection to his Spanish heritage.Formal Structure: The piece follows a traditional waltz structure, with a recurring A-B-A form. However, Granados infuses the form with his own unique twists and turns, incorporating unexpected modulations and thematic developments that keep the listener engaged throughout.Overall, Valse Poético No. 6 is a stunning example of Granados' compositional prowess, combining lyrical beauty, rhythmic vitality, and Spanish charm to create a timeless musical masterpiece.

Piano - Level 2 - Digital Download SKU: A0.1140477 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Unimusic Academy (Academia Unimusica). Contemporary,Pop,Rock,Singer/Songwriter. Score (Chords/Lyrics). 8 pages. Unimusic Academy (Academia Unimusica) #740673. Published by Unimusic Academy (Academia Unimusica) (A0.1140477). Thank You for the Music is a song by the Swedish pop group ABBA. It was originally featured on the group's fifth studio album, The Album (1977), and was released as a double-A sided single with Eagle in May 1978 in limited territories, namely Belgium, the Netherlands, Germany, France, Austria, Switzerland and Australia. In South Africa where it peaked at number 2 in August 1978 and became the eighteenth best-selling single of that year. Gracias por la Música is the Spanish-language recording of Thank You for the Music, with lyrics by Buddy and Mary McCluskey. The B-side was the Spanish-language version of Gimme! Gimme! Gimme! (A Man After Midnight) entitled ¡Dame! ¡Dame! ¡Dame!. The song was released in 1980 to promote the band's Spanish-language album/compilation Gracias Por La Música. It was the group's seventh best-selling Spanish single, and also peaked at number 4 in Argentina.

Piano Solo - Level 3 - Digital Download SKU: A0.565320 By Sharon Wilson. By Folk Song and Traditional Spanish Carol. Arranged by Sharon Wilson. Christmas,Folk,Latin,Multicultural,Sacred,World. Score. 5 pages. Sharon Wilson #3878659. Published by Sharon Wilson (A0.565320). Here is an upbeat, cheerful piano solo arrangement of the traditional Mexican carol Para Pedir Posada (generally translated as Asking for a place to stay at the inn). This song is an important part of the Christmas celebrations in Spanish-speaking Latin American countries, mainly Mexico. This intermediate piano solo is an enjoyable instrumental selection for use during the Christmas season and adds a Spanish flavor to the other traditional carols used during the holidays. Duration 2:45

Cello,Continuo,Soprano voice,Viola,Violin - Digital Download SKU: A0.1463442 By Arturo Escorza. By José Gavino Leal. Arranged by Arturo Escorza. Baroque,Chamber,Classical,Early Music. 30 pages. Arturo Escorza #1042138. Published by Arturo Escorza (A0.1463442). Discover a before unpublished gem of Spanish and New Spanish Baroque music—a beautiful duet aria with recitative: De los triunfos by the Sevillian composer José Gavino Leal (1700-1750) (Joseph Gabriel Gavino Díaz y Leal). Leal served as the Master of Chapel of the Cathedral of Valladolid (now Morelia), Mexico.Often dubbed The Manuel de Sumaya of Valladolid, Leal's music is truly exceptional yet relatively unknown. This edition includes:Full Score (19 pages): Soprano 1, Soprano 2, Violin 1, Violin 2, Viola, ContinuoParts (11 pages): Violin 1, Violin 2, Viola, ContinuoIdeal for ensembles and performers looking to explore Baroque and New Spanish repertoire, this edition brings to light a captivating work suitable for recitals and concerts.

Piano and voice - Digital Download SKU: LV.21399 Composed by J. R. Henning. Portraits, Patriotism, Spanish-American War. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.21399). Get Off of Cuba's Toes. Song and Chorus. Words and Music by J.R. Henning. Published 1896 by E.T. Paull Music Co., 20 East 17th St. in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Patriotism, Spanish-American War. First line reads Across the sea, a fierce old Spanish grandee sat on his throne.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Flute Duet Flute - Level 2 - Digital Download SKU: A0.1472705 Composed by Sebastian de Yradier. Arranged by P. R. Frederick. Folk,Traditional. Score. 7 pages. P. R. Frederick #1050358. Published by P. R. Frederick (A0.1472705). “La Palomais a popular Spanish song that has been produced and reinterpreted in diverse cultures, settings, arrangements, and recordings over the last 140 years. The song was written by the Spanish Basque composer Sebastián Iradier (later Yradier) around 1860 after a visit to Cuba. Iradier was to die in obscurity within few years, never to learn how popular his song would become.There are more than one thousand versions of this song, and together with Yesterday by The Beatles, is one of the most-recorded songs in the history of music; it is certainly the most-recorded Spanish songHere it is arranged as a flute duet. A score and separate parts are provided.See all of my flute duets here

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.876744 Composed by Jewish-Spanish traditional. Arranged by Tzvi Sherf. A Cappella,Folk,World. Octavo. 3 pages. Tzvi Sherf #6024733. Published by Tzvi Sherf (A0.876744). A beautiful a-cappella arrangement of this well known lullaby from the rich and unique Jewish-Spanish tradition, sung in the special Ladino (Spanish) dialect. Duration   2:40

Choral Choir (2-Part) - Level 1 - Digital Download SKU: A0.1112712 Composed by Spanish Carol. Arranged by Curtis Hanson. Christmas,Folk,Holiday,Sacred. Octavo. 5 pages. Curtis Hanson #714725. Published by Curtis Hanson (A0.1112712). In this post-pandemic era, demand for octavos for smaller choirs is on the rise. A La Nanita Nana is a lovely Spanish carol probably most well known in the arrangement by Norman Luboff. In this setting for 2 part mixed voices, the baritone line is a hybrid of bass/tenor ranges making it very accessible to a young choir with limited male voices. The treble part sits a little more in the soprano range and requires use of the head register. The only major challenge to the piece is to differentiate between the major and minor keys. Text is given in both Spanish and English allowing for multiple ways to interpret. It would be a welcome addition to any holiday program. It is also available for expanded choral voicing. This would be a welcome addition to the library with minimal voices. It would also work well as a duet.

Concert Band - Digital Download SKU: AX.00-PR-0004110 Score. Composed by Jose Padilla. Arranged by Michael Story. Instructional. Score. 18 pages. Alfred Music - Digital Sheet Music #00-PR-0004110. Published by Alfred Music - Digital Sheet Music (AX.00-PR-0004110). UPC: 038081430041.El Relicario is a well-known pasodoble by Spanish composer JosA(c) Padilla (1889--1960). The pasodoble (meaning double step) is a type of Spanish march that is performed at bullfights, usually when the participants enter the arena. An enchanting Spanish flourish for your developing band . . . OlA(c)! (2:30) This title is available in SmartMusic.

Concert Band - Digital Download SKU: AX.00-PC-0015797_C1 1st B-flat Clarinet. Composed by Jose Padilla. Arranged by Michael Story. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0015797_C1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015797_C1). UPC: 038081430041.El Relicario is a well-known pasodoble by Spanish composer JosA(c) Padilla (1889--1960). The pasodoble (meaning double step) is a type of Spanish march that is performed at bullfights, usually when the participants enter the arena. An enchanting Spanish flourish for your developing band . . . OlA(c)! (2:30) This title is available in SmartMusic.

By Spanish Folk Song. Arranged by Christy Elsner. Choral. Concert; Festival; Spanish. Choral. 6 pages. Published by Hal Leonard - Digital Sheet Music (HX.322981). - Choral - Concert; Festival; Spanish - Hal Leonard - Digital Sheet Music

Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1393179 Composed by Manuel Penella. Arranged by Robert Stevens. 20th Century,Chamber,Classical,Latin,Opera. 24 pages. SAXpress.com #976674. Published by SAXpress.com (A0.1393179). El Gato Montes, Paso Doble Torero Manuel Penella arranged for saxophone quintet This transcription is for saxophone quintet (SAATB or AAATB). Lively Spanish rhythms, a moderate allegro tempo (q = 104-112), semi-independent parts, and a moderate range make this a challenging but achievable piece for intermediate sax players.  The brief length (under 3 minutes taking all repeats), simple time signature (2/4 throughout) and manageable key signature (G minor throughout) will contribute to your players' success. After a unison fanfare introduction, the Soprano or Alto alternate takes the lead throughout but the supporting parts are featured in countermelodies and rhythmic figures. The Baritone provides a classic passo doble bass line as the foundation.The following parts are included with this arrangement: Soprano Sax Alto Sax A, soprano sax double Alto Sax 1 Alto Sax 2 Tenor Sax Baritone Sax Spanish composer Manuel Penella (1880-1939) wrote much for the stage including opera and zarzuela (Spanish musical theater). His best known work is the pasodoble El Gato Montes or “The Wildcat� from the 1916 opera of the same name. Your audience will be shouting “OLE� and throwing their hats into the air when you play this lively pasodoble!