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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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FLAMENCO
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GOSPEL - SPIRITUEL -…
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JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
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METHODE : ETUDES
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POLKA
POP ROCK - POP MUSIC
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SheetMusicPlus
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difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
24277
PIANO & CLAVIERS
Piano seul
14904
Piano, Voix
6732
Piano Facile
5953
Piano, Voix et Guitare
2017
Orgue
1475
Instruments en Do
1418
Accompagnement Piano
1264
1 Piano, 4 mains
588
Piano Trio: piano, violon, violoncelle
304
2 Pianos, 4 mains
164
Accordéon
155
Piano (partie séparée)
128
Piano Quatuor: piano, 2 violons, violoncelle
97
Piano Quatuor: piano, violon, alto, violoncelle
77
Piano Quintette: piano, 2 violons, alto, violoncelle
54
Orgue, Piano (duo)
51
Orgue, Trompette (duo)
46
Piano grosses notes
29
Clavecin
25
1 Piano, 6 mains
23
2 Accordéons
13
Clavier
13
2 Pianos, 8 mains
9
Fake Book
3
2 Orgues (duo)
1
Concertina
1
Accordéon, Corde(s)
1
Accordéon, Piano
1
Orgue et Orchestre
1
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GUITARES
Guitare notes et tablatures
1753
Guitare
1406
Ukulele
283
Piano, Guitare (duo)
273
Guitare (partie séparée)
264
Ligne De Mélodie, (Paroles) et Accords
256
2 Guitares (duo)
238
Basse electrique
222
4 Guitares (Quatuor)
79
Ukulele Baryton
75
Mandoline
62
Dulcimer
46
3 Guitares (trio)
34
Banjo
33
Guitare Pedal Steel
30
Ensemble de guitares
30
Paroles et Accords
28
2 Ukuleles
9
Mandoline, Guitare (duo)
9
Guitare, Violon, Violoncelle (trio)
7
2 Dulcimers (duo)
4
Ensemble de Ukulélés
3
Dobro
2
2 Mandolines (duo)
2
Luth
1
Mandoline, Piano (duo)
1
Guitare, Orchestre
1
Basse électrique (partie séparée)
1
Cithare
1
Instrumentations suivantes
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VOIX
Chorale SATB
8785
Chorale 2 parties
3489
Chorale 3 parties
3271
Chorale Unison
2383
Voix duo, Piano
1730
Chorale TTBB
1295
Chorale SSAA
856
Voix duo
503
Voix Soprano, Piano
337
Voix Alto, Piano
261
Voix Tenor, Piano
213
Voix haute
205
Pack Instrumental pour Chorale
144
Voix moyenne, Piano
114
Voix Baryton, Piano
95
Voix seule
89
Voix basse, Piano
49
Chorale
33
Voix Tenor
31
Voix basse
21
Chorale SSATB
19
Chorale SSAATTBB
18
Chorale SSATTB
15
Voix Soprano
13
Soli, choeur mixte et accompagnement
9
Chorale SSAB, Piano
8
Male Voice
7
Voix Mezzo-Soprano, Piano
7
Chorale SSAB a cappella
5
Chorale SATTBB A Cappella
2
Voix, Guitare
2
Chorale SSAATB
1
Chorale SAATB A Cappella
1
Voix haute, Piano
1
Voix d'Enfants
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
2528
Clarinette et Piano
2016
2 Saxophones (duo)
1999
Hautbois, Piano (duo)
1964
Quatuor de Saxophones: 4 saxophones
1882
Saxophone Alto et Piano
1778
Saxophone (partie séparée)
1767
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1716
Flûte, Hautbois, Clarinette, Basson
1332
Saxophone Alto
1254
Saxophone Tenor et Piano
1216
Flûte traversière
1211
Clarinette
1192
2 Flûtes traversières (duo)
1058
Quatuor de Clarinettes: 4 clarinettes
1016
Saxophone Tenor
996
2 Clarinettes (duo)
917
Quintette de Saxophone: 5 saxophones
868
Saxophone Soprano et Piano
782
Hautbois (partie séparée)
782
Flûte, Clarinette (duo)
523
Quatuor de Flûtes : 4 flûtes
518
Saxophone, Clarinette (duo)
457
3 Saxophones (trio)
432
Flûte à bec Soprano
405
2 Hautbois (duo)
377
Saxophone Baryton, Piano
364
Clarinette, Violon (duo)
357
Ensemble de Clarinettes
331
3 Clarinettes (trio)
309
Flûte et Guitare
301
Flûte à bec Alto
292
Ocarina
289
Ensemble de saxophones
285
Hautbois, Basson (duo)
269
Clarinette, Trompette (duo)
264
Clarinette (partie séparée)
251
Trio de Flûtes: 3 flûtes
249
Ensemble de Flûtes
243
Hautbois, Clarinette (duo)
236
Quintette de Clarinettes: 5 clarinettes
232
Hautbois
222
2 Flûte à bec (duo)
221
Flûte, Violon
205
Cor anglais, Piano
198
Flute (partie séparée)
175
Clarinette et Alto
167
Flûte, Saxophone (duo)
159
Hautbois, Flûte
156
Flûte, Alto (duo)
143
Flûte, Trompette (duo)
133
Saxophone Soprano
119
Clarinette, Guitare (duo)
117
Flûte, Violon, Piano
112
Flûte, Hautbois, Clarinette (trio)
110
Quintette de Flûte : 5 flûtes
109
Quatuor de Flûtes à bec
103
Clarinette Basse, Piano
101
Flûte, Clarinette et Basson
101
Flûte à Bec
99
Saxophone Baryton
95
Clarinette, Basson (duo)
93
Flûte, Violoncelle
80
Flûte, Violon et Violoncelle
79
Hautbois, Clarinette, Basson (trio d'anches)
77
Ensemble De Flûte à bec
76
Cor Anglais
75
Flûte, Violoncelle, Piano (trio)
66
Flûte, Hautbois (duo)
65
Clarinette, Violoncelle (duo)
54
Flûte, Clarinette, Piano (trio)
48
Flûte, Basson et Piano
46
Flûte, Hautbois, Basson
46
Flûte à bec Tenor
43
Flûte à bec Alto, Piano
42
Hautbois, Violoncelle
41
2 Clarinettes, Piano
40
Flûte, Trombone (duo)
39
Clarinette, Violoncelle, Piano (trio)
37
Flûte, Hautbois, Piano (trio)
37
2 Flûtes traversières, Piano
33
Harmonica
32
Cor anglais, Guitare (duo)
32
5 Flûtes à bec
32
Saxophone et Orgue
32
3 Flûtes à bec (trio)
31
Flûte, Alto et Piano
30
Hautbois, violon (duo)
29
2 Saxophones, Piano
27
Saxophone et Guitare
27
Flûte, Clarinette, Cor, Basson (Quartet)
24
Clarinette, Harpe (duo)
23
Flûte, trombone et piano
21
Flûte, Harpe et Violoncelle
21
Saxophone
21
Clarinette, Trombone (duo)
21
Hautbois, Guitare (duo)
18
Flûte, Violon, Violoncelle et Piano
16
Piccolo
16
Flûte à Bec, Piano
16
Hautbois et alto (duo)
15
Clarinette Basse
15
Flûte à bec Soprano, Piano
14
3 Hautbois
13
Piccolo, Piano
13
2 Clarinettes, Basson
13
4 Hautbois
11
Flûte traversière, Orgue (duo)
11
Flûte et Trio à cordes
9
Clarinette, trompette et piano
9
Clarinette, Basson, Piano (trio)
9
Quintette de Clarinette: Clarinette, Quatuor à Cordes
8
Flûte, Tuba (duo)
7
Instruments en Mib
7
Clarinette, Orgue
7
Flûte irlandaise
6
Hautbois, Clarinette et Piano (Trio)
6
Flute, Cor (duo)
6
Ensemble à vent
6
2 Cors Anglais Et Pianoforte
6
Flûte, Violoncelle, Guitare
6
Clarinette, Tuba
6
Flute, harpe et violon
5
Clarinette, Alto et Piano (trio)
5
Clarinette, Contrebasse (duo)
4
Hautbois, trombone (duo)
4
Flûte, Violon, Guitare
4
Flûte à bec, Guitare (duo)
4
Flûte traversière, Basse continue
4
Hautbois, Basson et Piano
4
Flûte, Hautbois, Violon
4
Cornemuse
4
Hautbois, Harpe
4
Saxophone et Harpe
3
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
3
2 Flûtes, 2 Clarinettes (Quatuor)
3
Flûte, Clarinette, Violon (trio)
3
Hautbois, Trompette (duo)
2
Flûte à bec Alto, Basse continue
2
Saxophone, Violon (duo)
2
Hautbois, Violon, Piano
2
2 Hautbois, Piano
2
Flûte de Pan
2
Cor anglais et Harpe (duo)
2
Ensemble de Hautbois
2
Saxophone, Basson (duo)
2
Saxophone et violoncelle
1
Flûte traversière, Orchestre
1
Melodica
1
2 Harmonicas
1
Saxophone, Tuba (duo)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Clarinette, Orchestre
1
Saxophone et Piano
1
2 Flûtes à bec, Piano
1
Flûte, alto et harpe
1
Hautbois, Violoncelle et Piano
1
Flûte et Quatuor à Cordes
1
Clarinette, Saxophone, Piano
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1651
Trombone et Piano
1479
Trompette, Piano
1426
Trompette
1294
Quatuor de Cuivres : 2 trompettes, trombone, tuba
975
Cor et Piano
974
Trombone
873
Trombone (partie séparée)
768
Cor
760
Trompette (partie séparée)
646
Tuba
620
2 Trompettes (duo)
555
2 Trombones (duo)
511
Tuba et Piano
480
Quatuor de Cuivres: 2 trompettes, Cor, trombone
449
Quatuor de Cuivres
406
Trompette, Saxophone (duo)
366
Trompette, Trombone (duo)
351
Euphonium
300
2 Cors (duo)
270
Quatuor de cuivres: 4 trombones
253
Cor anglais, Piano
198
Euphonium, Piano (duo)
194
Cor (partie séparée)
188
Trompette, Cor (duo)
175
Quatuor de cuivres: 4 cors
162
Tuba (partie séparée)
154
Ensemble de Trombones
150
Ensemble de Trompettes
85
2 Tubas (duo)
85
Cor Anglais
75
Quatuor de cuivres: 4 trompettes
70
3 Trombones (trio)
63
Trio de Cuivres
57
3 Trompettes (trio)
52
Quatuor de cuivres: 2 trompettes, 2 trombones
45
Ensemble de Cors
44
4 Tubas
42
2 Euphoniums et 2 Tubas
39
Tuba et Orgue
35
Cor anglais, Guitare (duo)
32
Trombone basse
31
Cor, Violoncelle (duo)
27
Trombone, Orgue
25
Trombone basse et Piano
23
Trompette, Tuba (duo)
23
Euphonium, Tuba (duo)
22
Trompette, Violoncelle et Piano
21
Trombone, Cor (duo)
19
Trompette, violon (duo)
19
2 Euphoniums (duo)
18
Trombone, Tuba (duo)
17
Trompette, Violoncelle (duo)
16
Clarinette, Cor (duo)
15
Cor, Tuba (duo)
14
3 Cors (trio)
14
Cor et Basson (duo)
11
Instruments en Sib
10
3 Tubas (trio)
10
Cor et Orgue
10
Trompette, Basson (duo)
10
Bass Clef Instruments
10
Instruments en Fa
7
2 Trompettes, Clavier (piano ou orgue)
7
Cor et Harpe
6
2 Cors Anglais Et Pianoforte
6
Trombone, Violon (duo)
5
Trompette, Trombone, Piano
4
Cornet A Pistons
3
3 Euphoniums
3
Trompette, Harpe
3
Trompette et Guitare
3
2 Cors, Piano
2
Tuba ou Euphonium ou Saxhorn
2
Trombone, Alto (duo)
2
2 Trombones, Piano
2
Cor anglais et Harpe (duo)
2
Trompette, Euphonium (duo)
2
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Trombone, violoncelle (duo)
1
Trombone et orchestre
1
Ensemble de Tubas
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
4051
Violon et Piano
3023
Violoncelle, Piano
2049
Violon
1979
Alto, Piano
1885
Violoncelle
1283
Violon, Violoncelle (duo)
1014
Trio à Cordes: violon, alto, violoncelle
983
Harpe
953
2 Violons (duo)
874
Alto seul
779
2 Violoncelles (duo)
647
Quintette à cordes: 2 violons, alto, violoncelle, basse
581
Violon, Alto (duo)
527
2 Altos (duo)
514
Contrebasse, Piano (duo)
450
Contre Basse
357
Trio à Cordes: 2 violons, violoncelle
353
Alto (partie séparée)
327
2 Harpes (duo)
292
Violon (partie séparée)
269
Contrebasse (partie séparée)
244
Alto, Violoncelle (duo)
176
Piano Trio: Violon, Alto, Piano
172
Trio à cordes: 3 violins
148
4 Violoncelles
139
Violon, Guitare (duo)
113
Trio à Cordes: 3 violoncelles
99
2 Contrebasses (duo)
83
Quatuor à cordes: 4 violons
66
Violoncelle (partie séparée)
66
Quatuor à cordes : 4 altos
61
Trio à cordes: 3 altos
60
Violoncelle , Guitare (duo)
59
Harpe, Flûte (duo)
57
Trio à Cordes: 2 violons, alto
50
Violoncelle, Contrebasse (duo)
49
Alto, Guitare (duo)
43
Quintette à cordes: 2 violons, 2 altos, violoncelle
37
Violon, Basson (duo)
33
Harpe, Violon (duo)
27
Ensemble de Violons
25
Harpe, Voix
21
Violon, Clarinette, Piano (trio)
21
4 Contrebasses
21
Violoncelle, Orgue
20
Ensemble d'Altos
20
Alto et Basson
18
Harpe, Violoncelle (duo)
18
Alto et Harpe
17
Ensemble de Violoncelles
12
Harpe, Violon, Violoncelle
11
Violon, Orgue
11
Flûte, Contrebasse (duo)
11
2 Violons, Piano
9
Quintette à cordes : 2 violons, alto et 2 violoncelles
8
2 Violoncelles, Piano
5
2 Altos, Piano
5
3 Harpes
4
Violoncelle, Basse continue
4
Violoncelle, Orchestre
4
3 Contrebasses
3
Violon, Basse continue
3
Harpe, Trombone (duo)
3
Violon, Violoncelle, Clarinette
3
Alto, Orgue
3
Harpe et Piano
3
Violon, Tuba (duo)
2
Harpe et Orgue
2
Violon, Trompette et Piano
2
5 Harpes
2
Trio à cordes
1
Autoharp
1
Harpe (partie séparée)
1
Harpe et mandoline
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
7711
Orchestre à Cordes
2049
Orchestre
1625
Cloches
1518
Ensemble Jazz
1455
Ensemble de cuivres
1073
Orchestre de chambre
633
Fanfare
444
Jazz combo
411
Ensemble de Percussions
214
Percussion (partie séparée)
158
Batterie
145
Batterie (partie séparée)
138
Marimba
45
Xylophone, Piano
37
Vibraphone
29
Timbales (partie séparée)
28
Xylophone
27
Percussion
21
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
11
2 Xylophones
10
Piano et Orchestre
10
Ensemble d'École
7
Instrumentation Flexible
5
Timbales
5
Quintette à Vent
4
Orchestre, Violon
4
3 Marimbas
3
Caisse Claire
3
Vibraphone et Marimba
2
Xylophone (partie séparée)
1
2 Marimbas
1
Quintette de Cuivres: autres combinaisons
1
Voix et Orchestre
1
Conga
1
Marimba et Orgue
1
Marimba ou Xylophone et Piano
1
Marimba, Piano (duo)
1
Bongos
1
2 Caisses Claires (duo)
1
Quatuor à Vent : 4 instruments à vents
1
Instrumentations suivantes
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AUTRES
Théorie de la musique
7
Formation musicale - Solfège
2
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H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
Piano et Orchestre
Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - L…
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Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - Level 2 - Digital Download SKU: A0.981569 Composed by Wolfgang Amadeus Mozart. Arranged by Helios D'Andrea. Classical,Contemporary,Instructional. Score and parts. 12 pages. D'Andrea Helios #6735431. Published by D'Andrea Helios (A0.981569). Only variations on an original theme by Mozart.
$5.00
4.55 €
#
Piano et Orchestre
#
Wolfgang Amadeus Mozart
#
Helios D'Andrea
#
H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
#
D'Andrea Helios
#
SheetMusicPlus
Klavierkonzert in C-Dur, Opus 7
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedr…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedrich Kuhlau. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 7. 191 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-055-5). ISBN 9790501790555.Exhibiting a natural talent for pastiche and an almost overwhelming abundance of original musical thought the Piano Concerto in C opus 7 took Beethoven's famous Piano Concerto in C opus 15 as its inspiration. Premiere performances of the concerto in Copenhagen 1811, secured a future for the German born composer as a Danish Romantic icon for future generations and this concerto is part of his legacy: as fresh and serene today as the day of its first performance.
$26.95
24.54 €
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Piano et Orchestre
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Friedrich Kuhlau
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Klavierkonzert in C-Dur, Opus 7
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Bisel Classics - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.84 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
(+)
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
182.12 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
(+)
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
113.82 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and String Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
(+)
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 32 pages. Published by www.mattrileymusic.com (S0.204647). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Sacred,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with a cinematic sound, this highly acclaimed arrangement will stun and amaze audiences. The piano requires an early intermediate level of skill. Matt Riley has also made Advanced and Advanced Intermediate versions available on this site.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with a cinematic sound, this highly acclaimed arrangement will stun and amaze audiences. The piano requires an early intermediate level of skill. Matt Riley has also made Advanced and Advanced Intermediate versions available on this site.
$125.00
113.82 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and String Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and String Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Christian, Contempora…
(+)
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Christian, Contemporary Christian, Sacred, Christmas. Score, Set of Parts. 38 pages. Published by www.mattrileymusic.com (S0.203945). - Score,Set of Parts - 21st Century,Christian,Contemporary Christian,Sacred,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with a cinematic sound, this highly acclaimed arrangement will stun and amaze audiences. The piano requires an advanced level of skill. Matt Riley has also made Early Intermediate and Late Intermediate versions available on this site. Questions? Email: Matt@mattrileymusic.comArranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with a cinematic sound, this highly acclaimed arrangement will stun and amaze audiences. The piano requires an advanced level of skill. Matt Riley has also made Early Intermediate and Late Intermediate versions available on this site. Questions? Email: Matt@mattrileymusic.com
$125.00
113.82 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and String Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
O Holy Night- Arranged for Piano and String orchestra
Piano et Orchestre
Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contem…
(+)
Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contemporary Christian, Spiritual, Sacred, Christmas. Score, Set of Parts. 22 pages. Published by Ognyan Petrov (S0.88877). - Score,Set of Parts - Christian,Contemporary Christian,Spiritual,Sacred,Christmas - Ognyan Petrov
This is an arrangement especially made for 2015 Holiday Contest.Very melodical line in Piano part, combined with lyric strings accompaniment.This is an arrangement especially made for 2015 Holiday Contest.Very melodical line in Piano part, combined with lyric strings accompaniment.
$19.50
17.76 €
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Piano et Orchestre
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Adolphe-Charles Adam
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Ognyan Petrov
#
O Holy Night- Arranged for Piano and String orchestra
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Ognyan Petrov
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
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Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
136.59 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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SheetMusicPlus
Le Vent, Le Cri - Ennio Morricone
Piano et Orchestre
Piano and String Orchestra - Advanced Intermediate - Digital Download By Ennio Morric…
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Piano and String Orchestra - Advanced Intermediate - Digital Download By Ennio Morricone. Arranged by Armand Broshka. Score, Set of Parts. 62 pages. Published by Armand Broshka
"Le Vent, Le Cri" soundtrack from the motion picture "Le Professionnel" The Professional composed by Ennio Morricone.<br> This version is identical to that of the movie and the attached YouTube link. (This is an professional score)"Le Vent, Le Cri" soundtrack from the motion picture "Le Professionnel" The Professional composed by Ennio Morricone.<br> This version is identical to that of the movie and the attached YouTube link. (This is an professional score)
$99.99
91.05 €
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Piano et Orchestre
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Ennio Morricone
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Le Vent, Le Cri - Ennio Morricone
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SheetMusicPlus
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