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in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées).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: A0.1008374 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. 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.

Organ - intermediate - Digital Download SKU: S9.Q45575 4 Praeambula - 3 Praeludia - 2 Chorale Settings. Composed by Vincent (junior) Luebeck and Vincent (senior) Luebeck. This edition: Sheet music. Master - North German organ school - organ. Masters of the North German School for Organ. Downloadable. Op. 12. Schott Music - Digital #Q45575. Published by Schott Music - Digital (S9.Q45575). German • English • French.This edition for the first time distinguishes between father and son, i.e. between works composed by Vincent Lübeck Senior (1654-1740) and works composed by Vincent Lübeck Junior (1684-1755). As a consequence, this new edition carefully edited from the sources is of particular importance to organ research.

Choral Choir,Choral (TTBB Chorus) - Level 2 - Digital Download SKU: A0.1503545 Composed by John Varley Roberts. Arranged by John Varley Roberts and L. Müller. 19th Century,Christian,Classical,Religious,Sacred. 11 pages. Müller Publishing company #1079005. Published by Müller Publishing company (A0.1503545). Seek Ye The Lord - John Varley Roberts - For Men's Choir TTBB with Tenor SoloExperience the power of sacred music with SEEK YE THE LORD by John Varley Roberts, in a unique adaptation for Men’s Choir TTBB featuring a Tenor Solo, arranged by L. Müller. This arrangement is designed to suit the vocal range of male choirs while preserving the emotional depth and reverence of the original composition. Perfect for rehearsals, worship services, and special performances, this edition offers a balanced and accessible rendition that enhances the choir’s expression. Bring a touch of elegance and spirituality to your musical repertoire with this beautifully crafted adaptation.

Large Ensemble Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 1 - Digital Download SKU: A0.1499958 Composed by Various. Arranged by L. Müller. Chamber,Christian,Religious,Sacred,Spiritual. 1122 pages. Müller Publishing company #1076029. Published by Müller Publishing company (A0.1499958). 50 Hymns for Beginner Orchestra with Chord Symbols: Complete Collection of Traditional ArrangementsUnlock the full potential of your beginner orchestra with this complete collection of 50 hymn arrangements, now available with chord symbols. Arranged by L. Müller, this book provides a unique blend of traditional hymn melodies and chord notations, making it perfect for orchestras and ensembles looking to enhance their rehearsals and performances with additional instrumental support. The inclusion of chord symbols allows for flexibility, enabling guitarists, keyboardists, and other accompanying musicians to join in seamlessly.Included Hymns:1. A Mighty Fortress2. Abide With Me3. All Hail The Power of Jesus' Name4. All Hail to the Power5. Belmont Hymn6. Christ Arose7. Count Your Blessings8. Fairest Lord Jesus9. Glorious Things of Thee Are Spoken10. God Be With You11. God of Our Fathers12. God Reveals His Presence13. Great Is Thy Faithfulness14. Holy, Holy, Holy15. How Great Thou Art16. I Surrender All17. Is Your All on the Altar18. It Is Well with My Soul19. Jesus Christ is Risen Today20. Jesus is Passing This Way21. Joyful, Joyful, We Adore Thee22. Lead me, Lord23. Let us praise God24. Majesty25. Master, the Tempest is Raging26. Mine Eyes Have Seen the Glory27. Moment by Moment28. Nearer my God to Thee29. Nearer, still nearer30. Now the Day Is Over31. O Love That Will Not Let Me Go32. O the Deep, Deep Love of Jesus33. Onward, Christian Soldiers34. Praise Ye the Father35. Showers of Blessing36. Standing on the Promises37. Tell Me the Old, Old Story38. The Banner of the Cross39. The Fight Is On40. The Gospel Bells41. The King's Business42. The Lord Bless You and Keep You43. The Old Rugged Cross44. To God Be The Glory45. Tollite Hostias46. True-hearted, Whole-hearted47. Trust and Obey48. We Plow the Fields49. When I Survey The Wondrous Cross50. Wonderful Grace of Jesus**Instrumentation:*** Flute* Clarinet in Bb I & II* Soprano Saxophone* Alto Saxophone I & II* Horn in F* Trumpet in Bb I, II & III* Trombone I & II* Tuba* Violin I, II & III* Viola* Cello I & II* Contrabass* Piano**Key Features:**- **Chord Symbols**: Enhance rehearsals and performances by allowing guitar, keyboard, and other accompanying instruments to join the orchestra easily.- **Accessibility**: The simplified arrangements are designed for beginner orchestras, making it easy for young musicians to play alongside experienced accompanists.- **Versatility**: Perfect for worship services, educational settings, or community performances, these arrangements offer a dynamic and engaging musical experience.Bring the rich heritage of these beloved hymns to life in your orchestra with added versatility and depth. This collection with chord symbols opens up new possibilities for accompaniment, providing a fuller, more harmonious sound that both performers and listeners will enjoy.Add this valuable resource to your music library and inspire your orchestra with these timeless melodies!

Piano Solo - Level 3 - Digital Download SKU: A0.814482 By Alan R. Thompson. By Alan R. Thompson. Arranged by Alan R. Thompson. Blues,Classical,Instructional,Jazz,Multicultural,World. Score. 16 pages. Alan R Thompson #421393. Published by Alan R Thompson (A0.814482). The C-TONIC ONLY version of Thompson's Structured Guide: Scales, Modes and Associated Chords - represents an invitation for you to explore part of the vast universe of melodic and harmonic musical options. This Structured Guide will provide a foundation for improvisation sessions, building blocks for the creation of original music, be helpful in developing technical proficiency in your instrument of choice, improve your sight-reading skills and help you better develop an ear for music. Though here only C-Tonic Scales, Modes and Associated Chords are listed, the complete version of this book (available separately at https://www.sheetmusicplus.com/title/thompson-s-structured-guide-scales-modes-and-associated-chords-complete-version-digital-sheet-music/22266897) lists in standard sheet music notation over 50 scales and over 50 chords in each of the 12 Tonic/Tonal Centers (C thru B) and in all Key Signatures in Western Music. Each Tonic/Tonal Center is 16 pages of sheet music. The Audio Preview covers the 16 pages of C-Tonic/Tonal Center (trumpet over piano used). Together with the exercises in the Appendices the entire book (sold separately) is 316 pages long. Summary of Scales & Modes Covered: Major, Natural Minor, Harmonic Minor, Melodic Minor, Melodic Minor Ascending/Natural Minor Descending, Whole-Tone, Octatonic Diminished & Octatonic Dominant Scales, numerous Bebop Scales with variations, numerous Pentatonic & Blues Scales with variations, Chromatic Scale, Lydian Diminished/Lydian b3 Scale, miscellaneous Pentatonic Major Modes & Japanese & Rock Pentatonic Style Scales, and the Augmented and Arabian Scales. There is a 50+ Chords Reference section (basic triads up to 13th chords). The entire book is in essence a series of practice exercises covering most every conceivable scale & associated chord combination used in the vast majority of music. Additionally, there are basic foundational exercises located in the Appendices A thru L. NOTE: Only SHEET MUSTIC is available here. However, a FREE PDF version of the Cover Page, Table of Contents, Introduction & Instructions is available for the entire book. Contact the author at alanrt63@gmail.com to request this if you desire.

Bass Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.533418 Composed by Ange Flégier. Concert,Romantic Period,Standards. 10 pages. Musik Fabrik Music Publishing #2913407. Published by Musik Fabrik Music Publishing (A0.533418). A setting of a poem by Paul-Armand Silvestre. Edited by Jared Schwartz and Mary Dibbern.Recorded on Ange Flégier: Mélodies for Bass Voice and Piano.Toccata Classics, 2016. In g minor Duration: aprox. 5 minutes 30 secondsAutomne au ciel brumeux, aux horizons navrants,Aux rapides couchants, aux aurores pâlies,Je regarde couler, avec l’eau des torrents,Tes jours faits de mélancolies.Sur l’aile du regret mes esprits emportés,Comme s’il se pouvait que notre âge renaisse,Parcourent, en rêvant, les coteaux enchantésOù, jadis, sourit ma jeunesse.Je sens, au clair soleil du souvenir vainqueur,Refleurir en bouquet les roses deliéesEt monter à mes yeux des larmes, qu’en mon coeur,Mes vingt ans avaient oubliées!

Piano Solo - Digital Download SKU: A0.976884 Composed by Monica Bergo. Contemporary. Score. 5 pages. Monica Bergo #3359365. Published by Monica Bergo (A0.976884). 2017 Holiday Contest Entry♫*´¨`*•.¸¸.♫ La dipendenza ♫*´¨`*•.¸¸.♫   Ti sembro libera... e invece sono incatenata..   Si avvicina sorridente mi è antipatico di già sul metrò c'è poca gente ma si siede proprio qua. Io bruttina ,un po' rachitica conscia dei limiti miei sono persa tra le nuvole e mi faccio i fatti miei   Lui mi guarda ed è insistente ma da me cosa vorrà? E' un bell'uomo ed è elegante forse è miope, chi lo sa? Dal suo sguardo penetrante io mi sento trapassare e mi sono già stufata e in faccia gli vorrei gridare   Ti sembro libera e invece sono innamorata dammi un piano, una chitarra e passo tutta la giornata Divento isterica quando mi portano in vacanza perchè di settime e rivolti non so proprio fare senza Malata cronica e sono ormai senza speranza però non voglio medicine per questa mia dipendenza..   Tu entri e scoppi nelle vene con le tue catene stringimi di più Sento l'energia infinita scorre tra le dita e tu solo puoi ed allevierai i dolori miei sei la mia compagna nei momenti più bui Mi proteggerai dagli eccessi miei in questo mondo finto scintilla tu sarai   Alla fine si decide e mi apostrofa così sei la mia nuova vicina, la mia casa è proprio lì, e la sera io m'incanto e ti ascolterei per ore mentre suoni il pianoforte insieme a te posso volare e lo so che forse è tardi però ci vorrei provare so che ai bimbi dai lezione ed anche io vorrei imparare   Ma che uomo intelligente! Mi è simpatico di già gli racconto del ceffone che ha rischiato poco fa lui mi dice che ha un compagno e che lo ama dolcemente io mi prenderei a pedate maledetta diffidente!!   Voliamo liberi sui nostri accordi in dissonanza dimenticando ogni problema, grosso guaio od incombenza Malato cronico della mia stessa dipendenza che lo contagia, si propaga ed entra nella sua esistenza Soltanto anime e metto a nudo la sua essenza mentre lo ascolto solfeggiare entra il cielo in questa stanza...                                                                     Monica Bergo

Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.823319 Composed by L.M. Gottschalk. Arranged by Joel Knipe. Classical,Concert,Latin. Score and parts. 28 pages. Joel Knipe #6096225. Published by Joel Knipe (A0.823319). A unique and lively arrangement of L.M. Gottschalk's well-known piano work, Souvenir de Porto Rico, arranged for trombone quartet. Your students will love this arrangement as it slowly builds in voices, tempo, and intensity and peaks as the visual of a parading band makes their way down the street. The piece slowly lowers this excitement back to where it started, ending with a whispered unison E-flat. This arrangement will surely help add variety to any performance or recital! Arranged for trombone quartet. Intermediate-advanced difficulty.

Piano Solo - Level 3 - Digital Download SKU: A0.976847 Composed by Monica Bergo. Contemporary. Score. 5 pages. Monica Bergo #3236725. Published by Monica Bergo (A0.976847). 2017 Holiday Contest Entry                                                     JARUSKA BALIS   Era un giorno così come tanti  Con le  streghe ero lì su Beat 100 Una signora dal nome straniero Mi ascolta  e commentò   E fu così che cominciò questo rapporto che risplende Con una donna come te Che tutto dà e non vuol niente Così altruista e generosa E mi sono anch’io stupita Di trovare proprio qui un’amica per la vita   Perché Jaruska non lo sa Di essere speciale È  l’ umanità Che la rende tale E mi stupirà Una donna come te Così facile da amare   Perché Jaruska  non lo sa Ma oggi noi gli sveleremo la realtà Tanti auguri tutti in coro Noi cantiam a una donna come te Così facile da amare   Sei sempre pronta ad ascoltarmi e non mi lasci mai da sola Solo tu consolerai Questa  mia lacrima che vola Le tue parole sono buone Ed arrivan dritte al cuore Lo strumento che usi tu È il migliore ed è l’amore   Perché Jaruska non lo sa Ma ormai è entrata nel mio cuore E resta qua Come un angelo virtuale Veglierà Su una donna come me Che è difficile da amare   Perché Jaruska non lo sa Di essere importante In questa realtà Spesso evanescente Solo lei sarà Il mio  punto fermo che Neanche il tempo scalfirà Come un sole può scaldare                                                                     Monica Bergo

Organ - Level 2 - Digital Download SKU: A0.1499255 Composed by Tomas Luis de Victoria. Arranged by L. Müller. A Cappella,Christian,Classical,Renaissance,Sacred. Score. 2 pages. Müller Publishing company #1075307. Published by Müller Publishing company (A0.1499255). Ave Maria - Tomas Luis de Victoria - for Organ or Piano Solo - in G MajorExplore the richness of Renaissance music with Ave Maria by Tomás Luis de Victoria, edited for organ or piano solo by L. Müller. This edition captures the serene and contemplative essence of the original work, sensitively adapted for keyboard instruments. Ideal for performances or liturgical use, this sheet music offers a unique opportunity for instrumentalists to interpret one of the gems of sacred Renaissance music.