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Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.1030862 Composed by Yoav Landau. Arranged by Ethan Gammage. Pop. 3 pages. Ethan Gammage #21461. Published by Ethan Gammage (A0.1030862). When I first began writing It’s Been so Long last year, I never knew how a song of this nature could inspire me to write. The lyrics were not what pushed me to arrange this; it was all of the feelings and rhythms that were occurring in the background. The song is originally a sad song about a mother and her son, but as I listened to the song, the words didn't release my emotions, it was the story being told in the background. My favorite part is what I gave the 2nd Alto Sax. Even though this was the last part I wrote, it is overall the most important in giving the audience the full story. It starts off insignificant only supporting the baseline and completing chords, but then it gains its own voice and becomes more independent as we reach the end.
It's Been So Long
Flűte, Hautbois, Clarinette, Basson

$9.99 8.76 € Flűte, Hautbois, Clarinette, Basson PDF SheetMusicPlus

Percussion Septet Bell (or Triangle),Sleigh Bells,Xylophone - Level 1 - Digital Download SKU: A0.1316786 Composed by Brian L. Monroe. Arranged by Brian L. Monroe. Chamber,Christmas,Instructional. 20 pages. BLM Music Publications (https://brianmonroemusic.com) #905464. Published by BLM Music Publications (https://brianmonroemusic.com) (A0.1316786). Santa's Magical Workshop:  Written for beginning percussion students.  Santa's Magical Workshop includes 3 Bells, Xylophone, Triangle, Temple Blocks and Sleighbells.  The piece has been written in Alphanotes (where the note names are in the note heads) and limited material to make a great piece for beginning percussionists.  This promises to be a hit on a concert!!!!!Here's the Story!!!T'was the day before Christmas, at the North Pole.The elves were working to finish the toys, and they were on a roll.For they knew that tonight, Santa would be on his waytaking the presents to the children, in his enchanted sleigh.The elves worked hard until the night, singing Christmas songs in delight,  and finishing the toys so Santa could take flight. The sudden jingling of bells meant Santa was here.It was time to pack the sleigh, and get the reindeer.and when it was done, the elves let out a great cheer, it was time to rest,for Santa's Magical Workshop was closed for the rest of the year.
Santa's Magical Workshop

$12.00 10.52 € PDF SheetMusicPlus

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.730007 By Sam Smith. By Angel Lopez, James Napier, Larrance Dopson, Sam Smith, and Tim Mosley. Arranged by Kristen Allred. Contemporary. Score. 6 pages. Kristen W Allred #3556933. Published by Kristen W Allred (A0.730007). Pray by Sam Smith is full of soul and heartfelt yearning about the problems in the world. Sam Smith wrote this after doing charity work in Iraq. This piano arrangement has a depth to it that encompasses the rich sound and rhythms of the original performance. It also includes the lyrics so the sheet music is great for singers. Perfect for the intermediate pianist.2018 New ArrangeMe Song Contest EntryVisit the composer's website:http://kristenallred.com/Other arrangements by Kristen Allred on SheetMusicPlus:Can't Stop the FeelingShake It OffCome, Thou Fount of Every Blessing,Amazing GraceFinesseThinking Out Loud
Pray
Piano, Voix
Sam Smith
$5.99 5.25 € Piano, Voix PDF SheetMusicPlus

Easy Piano - Level 2 - Digital Download SKU: A0.1261966 Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music. Score. 3 pages. Darek #855051. Published by Darek (A0.1261966). Badinerie (EASY PIANO) Orchestral Suite No. 2 in B Minor [Johann Sebastian Bach]Simplified arrangement for pianists of Badinerie Orchestral Suite No. 2 in B Minor by Johann Sebastian Bach. Easy version for pianists | Easy piano arrangement. Included: Fingering, Dynamics, Articulations and video Youtube tutorial.  Step into the lively world of Johann Sebastian Bach's Badinerie from the Orchestral Suite No. 2 in B Minor, now available in an easy-level piano sheet music arrangement for beginner pianists. Let the playful and spirited melodies of this beloved composition ignite your passion for music and transport you to the illustrious Baroque era. With my meticulously crafted sheet music, you will find yourself effortlessly navigating through the intricacies of this delightful piece. Each note is carefully accompanied by fingering suggestions, ensuring that your hands glide smoothly across the keys, bringing out the infectious energy of the music. Capture the essence of the composition with detailed articulation markings, guiding you to shape each phrase with precision and grace. Explore the full range of dynamics, as meticulously notated, allowing you to infuse the piece with the vibrant and expressive qualities it demands. As a valuable addition to this package, I have included a YouTube tutorial video that provides comprehensive guidance, tips, and demonstrations. This visual aid will empower you to master the intricacies of Badinerie at your own pace, ensuring a rewarding learning experience. Designed specifically for beginner pianists, this sheet music offers an accessible entry point into the enchanting world of Bach's compositions. Embrace the challenge, and revel in the satisfaction of conquering a piece from the renowned composer's repertoire. Join the community of aspiring pianists who have chosen to embark on this musical adventure. Whether you are a beginner yearning for an exciting new piece or an intermediate player seeking to expand your repertoire, this sheet music will undoubtedly captivate and inspire. Unleash your creativity and let the spirited rhythms of Badinerie fill your surroundings. Transport yourself to a bygone era while honing your skills as a pianist. Don't miss the opportunity to add this iconic composition to your repertoire and delight audiences with your captivating performance. Keywords: Badinerie, Orchestral Suite No. 2 in B Minor, Johann Sebastian Bach, piano sheet music, easy level, beginner pianists, fingering, articulation, dynamics, YouTube tutorial, Baroque era, music, pianists, composition, repertoire, musical adventure, playful melodies, spirited rhythms.
Badinerie (EASY PIANO) Orchestral Suite No. 2 in B Minor [Johann Sebastian Bach]
Piano Facile

$3.00 2.63 € Piano Facile PDF SheetMusicPlus

Small Ensemble B-Flat Clarinet,B-Flat Trumpet,Bassoon,Cello,Drum Set,E-Flat Alto Saxophone,Flugelhorn,Flute,Oboe,Piano,Soprano Saxophone,Tenor Saxophone,Trombone,Violin - Level 3 - Digital Download SKU: A0.1135238 Composed by Randy Newman and Renato Rosenberg (trans.). Arranged by Dico. Broadway,Film/TV,Musical/Show,Pop,Wedding. Score and parts. 24 pages. Dico #735282. Published by Dico (A0.1135238). WEDDING SERIES - A set of popular songs and wedding standards that I've been arranged for years (some aren't as standard, but still). The formations are varied, from duos to orchestras with chorus. Most are mixed/flexible sextets where some instruments can be replaced and, as a result, ensembles can be completely changed. Some arrangements have abbreviated versions (excerpts) and are in several keys to adapt to a wide range of voices. These options are available in my catalog. YOU'VE GOT A FRIEND IN ME (from Disney's Toy Story movie) for flexible ensemble (sextet). INSTRUMENTATION: Part 1: Fl (Ob/Cl/Ssax) | Part 2: Tpt (Flugel/Cl/Ssax/Asax/Tsax) | DrSet | Pno | Part 3: Vln (Cl/Ssax) | Part 4: Vc (Tbn/Bsn/Tsax).
You've Got A Friend In Me (para El Buzz Espanol)

$20.00 17.54 € PDF SheetMusicPlus

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB #1921495. Published by Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB (A0.1068892). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
LOVELY THOUGHTS

$1.99 1.75 € PDF SheetMusicPlus

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068890 Composed by Lars Ek. Folk,World. Full Performance. Duration 259. Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB #1921479. Published by Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB (A0.1068890). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
FORNUDDSVALSEN

$1.99 1.75 € PDF SheetMusicPlus

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068893 Composed by Lars Ek. Folk,World. Full Performance. Duration 154. Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB #1921497. Published by Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB (A0.1068893). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
LÄTTA FINGRAR

$1.99 1.75 € PDF SheetMusicPlus

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068889 Composed by Lars Ek. Folk,World. Full Performance. Duration 206. Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB #1921477. Published by Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB (A0.1068889). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
SNÖKÄNGAN

$1.99 1.75 € PDF SheetMusicPlus

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068894 Composed by Lars Ek. Folk,World. Full Performance. Duration 225. Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB #1921499. Published by Lars Ek Cosmos Music c/o Musik & Underhüllningsskrädderiet AB (A0.1068894). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
VALS FRÅN DREFVIKEN

$1.99 1.75 € PDF SheetMusicPlus

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.793559 By Louis Armstrong With Kenny G. By Bob Thiele and George David Weiss. Arranged by Brian Hardy - Bacchus Quartet. Jazz. Score and parts. 7 pages. Brian Hardy #3130315. Published by Brian Hardy (A0.793559). 'What a Wonderful World' was first released by Louis Armstrong as a single in 1967 and topped the UK singles chart in that year. The head of ABC Records, Larry Newton didn't like it. It didn't enter the US Top 100 until 1988.Our version gives the theme to each of the instruments.For more Bacchus Quartet arrangements visit - sheetmusicplus.com/publishers/bacchusquartet/5331
What A Wonderful World
Quatuor ŕ cordes: 2 violons, alto, violoncelle
Louis Armstrong With Kenny G
$12.99 11.39 € Quatuor ŕ cordes: 2 violons, alto, violoncelle 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 ViĂąes, 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 (oubliĂŠes). 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 soirĂŠe 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 LouĂżs, 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 soirĂŠe 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 21.92 € Orchestre PDF SheetMusicPlus

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 ViĂąes, 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 (oubliĂŠes). 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 soirĂŠe 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 LouĂżs, 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 soirĂŠe 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. 2 La soirée dans
Orchestre

$25.00 21.92 € Orchestre PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download SKU: A0.1104290 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Children,Christmas,Classical,Instructional,New Age. Score. 9 pages. White Piano International Publishing #707500. Published by White Piano International Publishing (A0.1104290). FROLICAdvanced Intermediate Piano Soloby ROBERT VAN HORNE  9 pagesDuration is about 3:20 In 1995, while performing at Nordstrom Valley Fair in San Jose, CA, I was asked to participate in a group of other Nordstrom pianists from all over the United States in a charitable Holiday project to benefit the “Make A Wish Foundation.” I was told to record several Holiday pieces and submit them to the main office in Seattle. It was a sunny Saturday morning in May when I recorded in my home a few of my favorite holiday songs, like Silent Night, Have Yourself A Merry Little Christmas, God Rest Ye Merry Gentlemen and other Christmas carols.After doing this, I asked myself, why don't I compose a new instrumental piano piece and submit it along with the other familiar demo examples. I imagined children playing in the snow, sledding down hills, their excitement on Christmas morning, and the wonderful spirit of the holiday season. After a little while I composed this piece. I then thought to myself; “I’ll call it CHRISTMAS FROLIC. Even though Nordstrom never used this piece on their Holiday CD, I performed it for audiences. I remember once telling a friend, “Here’s a new piece I composed called CHRISTMAS FROLIC, however, it can only be played during the Christmas season. My friend replied; “Robert, why don’t you just call it FROLIC, then you can play it all year long.The sheet music is clearly notated with dynamic and articulation marks, phrasing, pedal indications, suggested fingerings and appropriate musical terms for playing. This advanced intermediate piano solo can be played year around. It is an excellent teaching piece that can be used in recitals and school musical events and makes and excellent encore for professionals.It is a delightful musical listening treat for audiences and ideal for more advanced piano students. FROLIC was recorded as a piano selection in 1998 on Robert’s CD entitled PIANO & MEMORIES. The audio sample from the album has accompanied orchestral instrumentation and is not included in the piano sheet music. Robert Van Horne is a long standing member of ASCAP. Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.comHere is the link to the video: YouTube Link: https://youtu.be/8tC7nyF6W0I.
FROLIC (Piano Solo)
Piano seul
ROBERT VAN HORNE
$5.99 5.25 € Piano seul PDF SheetMusicPlus

Piano,Violin - Level 5 - Digital Download SKU: A0.987912 Composed by Andrew Shapiro. 20th Century,Classical,Contemporary. 21 pages. Airbox Music Publishing #2157881. Published by Airbox Music Publishing (A0.987912). Sonata Violin/Piano: THE HIGH LINE (2015)Commissioned by Gregory Fulkerson, Professor of Music, The Oberlin Conservatory of Music. Gregory Fulkerson writes: Andrew Shapiro is a composer and songwriter living in Brooklyn. I first met him during his senior year at Oberlin when he acted as an audio assistant for my 1998 Merkin Hall concert in New York. I reconnected with him by chance in 2012, and we discussed working together to develop a violin sonata. I love the forthright and amiable spirit that permeates the piece; it is definitely in a pop style, yet he handles the standard acoustic sonorities deftly and there is a wealth of detail in the patterns of the violin. I don’t know anything else quite like it.Andrew Shapiro writes: In 2011 I fell into a job as a High Line Park Ranger so as to be able to spend considerable time at this new, rather bizarre park. When there weren’t huge mobs of people around (and it wasn’t absolutely freezing), during my year working there I often found myself near the top of the Gansevoort stairs contemplating the view of the river. After a while I got the idea to write a few sweet and simple pieces of music about it at different times of the day.
The High Line: Sonata for Violin and Piano
Violon et Piano

$22.00 19.29 € Violon et Piano PDF SheetMusicPlus


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