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ACCORDEON
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AUTRES INST…
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CHARANGO
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CLAIRON
CLARINETTE
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CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
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PAS DE PART…
PERCU. ORCH…
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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
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
BLUES
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
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
18621
PIANO & CLAVIERS
Piano Facile
68103
Piano seul
41767
Piano, Voix
10170
Piano grosses notes
3924
Orgue
3301
Piano, Voix et Guitare
2228
Instruments en Do
2127
1 Piano, 4 mains
1239
Accordéon
1167
Accompagnement Piano
286
Piano Trio: piano, violon, violoncelle
147
Piano (partie séparée)
100
2 Pianos, 4 mains
97
Clavier
69
Piano Quatuor: piano, 2 violons, violoncelle
63
1 Piano, 6 mains
59
Piano Quatuor: piano, violon, alto, violoncelle
58
Orgue, Trompette (duo)
39
Orgue, Piano (duo)
26
Piano Quintette: piano, 2 violons, alto, violoncelle
26
Clavecin
19
Accordéon, Voix
12
2 Accordéons
10
Ligne De Mélodie, Piano
9
Accordéon, Piano
5
Ensemble d'Accordéons
2
2 Pianos, 8 mains
2
Orgue, Voix
2
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
16250
Guitare
7647
Ligne De Mélodie, (Paroles) et Accords
4738
Basse electrique
1822
Paroles et Accords
1738
Ukulele
810
2 Guitares (duo)
399
Guitare (partie séparée)
199
Piano, Guitare (duo)
161
3 Guitares (trio)
46
4 Guitares (Quatuor)
43
Ensemble de guitares
42
Banjo
32
Mandoline
28
Dobro
27
Dulcimer
25
Guitare Pedal Steel
20
2 Ukuleles
9
Ukulele Baryton
6
Basse électrique (partie séparée)
6
Mandoline, Guitare (duo)
3
Guitare, Violon, Violoncelle (trio)
3
Ensemble de Ukulélés
2
2 Mandolines (duo)
2
Guitare, Quatuor à cordes
1
Instrumentations suivantes
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VOIX
Chorale SATB
3160
Chorale 3 parties
1983
Chorale 2 parties
1466
Chorale Unison
725
Chorale TTBB
606
Voix seule
602
Chorale SSAA
264
Voix Soprano, Piano
165
Chorale
147
Voix duo, Piano
117
Voix duo
79
Voix Alto, Piano
74
Voix basse, Piano
50
Voix Tenor, Piano
47
Voix Mezzo-Soprano, Piano
38
Voix haute
30
Voix, Guitare
24
Voix Baryton, Piano
18
Chorale SSATB
16
Chorale, Orgue
13
Voix moyenne, Piano
10
Voix Tenor
8
Chorale SSAATTBB
5
Chorale SSATTB
5
Chorale SSAB a cappella
3
Soli, choeur mixte et accompagnement
3
Chorale SATBB
3
Voix Soprano
2
Chorale SSAB, Piano
1
Chorale SAATB A Cappella
1
Chorale SATTBB A Cappella
1
Voix basse
1
Instrumentations suivantes
Retracter
VENTS
Saxophone
7030
Flûte traversière
3720
Clarinette
3620
Flûte traversière et Piano
1593
Saxophone (partie séparée)
1398
Saxophone Alto
1370
2 Saxophones (duo)
1121
Saxophone Tenor
1119
Clarinette et Piano
1108
Hautbois, Piano (duo)
953
Quatuor de Saxophones: 4 saxophones
947
Saxophone Alto et Piano
834
Flûte, Hautbois, Clarinette, Basson
795
2 Flûtes traversières (duo)
752
2 Clarinettes (duo)
739
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
732
Flûte à Bec
677
Hautbois (partie séparée)
642
Saxophone Tenor et Piano
620
Quatuor de Clarinettes: 4 clarinettes
524
Hautbois
452
Quintette de Saxophone: 5 saxophones
449
3 Saxophones (trio)
434
Saxophone Soprano
339
Saxophone Soprano et Piano
336
3 Clarinettes (trio)
323
Flûte, Clarinette (duo)
255
2 Hautbois (duo)
223
Saxophone Baryton, Piano
216
2 Flûte à bec (duo)
199
Quatuor de Flûtes : 4 flûtes
194
Trio de Flûtes: 3 flûtes
192
Quatuor de Flûtes à bec
140
Flûte à bec Soprano
131
Flûte et Guitare
127
Flute (partie séparée)
124
Hautbois, Basson (duo)
120
Flûte, Hautbois, Basson
119
Quintette de Clarinettes: 5 clarinettes
113
Flûte à bec Soprano, Piano
108
Clarinette (partie séparée)
92
Flûte à bec Alto
89
Hautbois, Clarinette (duo)
87
Saxophone, Clarinette (duo)
82
Flûte, Clarinette et Basson
82
Clarinette, Violon (duo)
80
Flûte, Hautbois, Clarinette (trio)
74
Saxophone Baryton
72
Hautbois, Clarinette, Basson (trio d'anches)
69
Flûte, Violoncelle
68
Cor Anglais
65
Cor anglais, Piano
65
Ensemble de Clarinettes
65
3 Flûtes à bec (trio)
65
Flûte, Violon, Piano
59
Clarinette, Basson (duo)
59
Flûte, Violon
58
Harmonica
57
Flûte à bec Alto, Piano
54
Clarinette, Trompette (duo)
53
Clarinette, Violoncelle (duo)
46
Flûte, Hautbois (duo)
46
Ensemble de saxophones
42
3 Hautbois
42
Clarinette et Alto
40
4 Hautbois
39
Clarinette Basse, Piano
36
Flûte, Alto (duo)
34
Flûte, Saxophone (duo)
32
Saxophone et Piano
31
Hautbois, Flûte
31
Flûte à Bec, Piano
30
Ensemble de Flûtes
30
Flûte, Trompette (duo)
29
Hautbois, Guitare (duo)
28
Hautbois, Violoncelle
27
Piccolo
22
Flûte à bec Tenor
20
5 Flûtes à bec
20
Ensemble De Flûte à bec
17
Flûte, Basson et Piano
16
Clarinette, Guitare (duo)
16
Saxophone et Guitare
15
Quintette de Flûte : 5 flûtes
13
Clarinette, Trombone (duo)
11
2 Flûtes traversières, Piano
10
Flûte, Hautbois, Violon
10
Flûte, Violoncelle, Piano (trio)
9
Flûte, Trombone (duo)
9
Hautbois et alto (duo)
9
Flûte, Clarinette, Cor, Basson (Quartet)
9
2 Saxophones, Piano
8
Piccolo, Piano
8
Instruments en Mib
8
Flûte et Trio à cordes
7
Flûte à bec Alto, Basse continue
7
Flûte, Violon et Violoncelle
7
Hautbois, violon (duo)
7
Ensemble de Hautbois
6
2 Clarinettes, Piano
6
Clarinette Basse
6
Clarinette, Basson, Piano (trio)
6
Flûte, Hautbois, Piano (trio)
6
Flûte, Violon, Violoncelle et Piano
5
Flûte irlandaise
5
Flûte traversière, Orgue (duo)
4
Flûte traversière, Basse continue
4
Flûte à bec Soprano, Basse continue
4
Flûte à bec, Guitare (duo)
4
Saxophone, Violon (duo)
4
Clarinette, Orgue
4
Clarinette, Harpe (duo)
3
Flûte, Clarinette, Piano (trio)
3
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
Saxophone et Orgue
2
Flûte, Clarinette, Violon (trio)
2
Hautbois, Basson et Piano
2
Flute, harpe et violon
2
2 Clarinettes, Basson
2
Hautbois, Violoncelle et Piano
2
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
2
Flûte et Quatuor à Cordes
2
Ocarina
2
Hautbois, trombone (duo)
1
2 Hautbois, Piano
1
2 Hautbois et Basson
1
2 Flûtes traversières, Guitare
1
Flûte, Tuba (duo)
1
2 Cors Anglais Et Pianoforte
1
Cornemuse
1
Clarinette, Alto et Piano (trio)
1
Flûte, Violon, Guitare
1
Flûte, Harpe et Violoncelle
1
Flûte, Alto et Violoncelle
1
Flûte de Pan
1
Harmonica, Piano
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, Clarinette et Piano (Trio)
1
2 Flûtes, Basse continue
1
Saxophone, Basson (duo)
1
Flûte, Alto et Piano
1
Hautbois, Violon, Piano
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette
3511
Trombone
3091
Trompette, Piano
890
Cor
835
Trombone et Piano
740
Tuba
641
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
559
2 Trompettes (duo)
521
Cor et Piano
485
Euphonium
462
Trombone (partie séparée)
440
2 Trombones (duo)
397
Trompette (partie séparée)
393
Tuba et Piano
325
Quatuor de Cuivres : 2 trompettes, trombone, tuba
313
Quatuor de Cuivres: 2 trompettes, Cor, trombone
282
Trompette, Trombone (duo)
277
Quatuor de Cuivres
203
2 Cors (duo)
169
Cor (partie séparée)
117
Tuba (partie séparée)
102
Trompette, Cor (duo)
73
2 Tubas (duo)
69
Cor Anglais
65
Cor anglais, Piano
65
Trompette, Saxophone (duo)
64
Quatuor de cuivres: 4 trombones
61
Tuba et Orgue
49
Trio de Cuivres
45
Quatuor de cuivres: 4 trompettes
44
Euphonium, Piano (duo)
43
Quatuor de cuivres: 4 cors
35
Cor, Violoncelle (duo)
22
Trombone basse
22
3 Trompettes (trio)
20
3 Trombones (trio)
19
Cor, Trompette, Trombone (trio)
17
Cor, Tuba (duo)
14
Trombone, Cor (duo)
14
2 Euphoniums (duo)
14
Bass Clef Instruments
12
Trombone, Tuba (duo)
10
Trombone basse et Piano
10
Ensemble de Cors
9
Trompette, violon (duo)
9
4 Tubas
9
Euphonium, Tuba (duo)
9
Ensemble de Trombones
7
3 Cors (trio)
7
2 Euphoniums et 2 Tubas
7
Instruments en Sib
7
Trompette, Violoncelle (duo)
6
2 Trompettes, Clavier (piano ou orgue)
6
Trompette, Tuba (duo)
6
3 Tubas (trio)
5
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Trompette, Basson (duo)
4
Trombone, Orgue
4
Cor et Basson (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
Trompette, Trombone, Piano
2
Clarinette, Cor (duo)
2
Trompette, Euphonium (duo)
2
Trompette et Guitare
2
3 Euphoniums
1
Ensemble de Tubas
1
Ensemble de Trompettes
1
2 Cors Anglais Et Pianoforte
1
4 Euphoniums
1
Instruments en Fa
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Instrumentations suivantes
Retracter
CORDES
Violon
2787
Violon et Piano
2195
Violoncelle
2143
Quatuor à cordes: 2 violons, alto, violoncelle
1963
Alto seul
1627
Violoncelle, Piano
1485
Alto, Piano
1108
Harpe
931
2 Violons (duo)
838
2 Violoncelles (duo)
709
Violon, Violoncelle (duo)
608
Quintette à cordes: 2 violons, alto, violoncelle, basse
468
2 Altos (duo)
435
Contre Basse
405
Contrebasse, Piano (duo)
373
Violon, Alto (duo)
319
Trio à Cordes: violon, alto, violoncelle
295
Alto (partie séparée)
276
Trio à Cordes: 2 violons, violoncelle
213
Alto, Violoncelle (duo)
195
Violon (partie séparée)
173
Trio à Cordes: 3 violoncelles
137
Contrebasse (partie séparée)
131
Trio à cordes: 3 violins
108
4 Violoncelles
100
Piano Trio: Violon, Alto, Piano
64
Quatuor à cordes: 4 violons
63
2 Contrebasses (duo)
61
Trio à cordes
61
Violon, Guitare (duo)
55
Trio à Cordes: 2 violons, alto
50
Quatuor à cordes : 4 altos
46
Violoncelle (partie séparée)
41
Violoncelle , Guitare (duo)
39
Trio à cordes: 3 altos
33
Violoncelle, Contrebasse (duo)
29
Violon, Basson (duo)
24
Alto, Guitare (duo)
21
Alto et Basson
18
2 Violons, Piano
17
Quintette à cordes: 2 violons, 2 altos, violoncelle
14
2 Harpes (duo)
13
Violoncelle, Orgue
10
Violoncelle, Basse continue
10
2 Violoncelles, Piano
10
2 Altos, Piano
9
Harpe, Voix
8
Harpe, Flûte (duo)
7
4 Contrebasses
6
Harpe, Violoncelle (duo)
5
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
Flûte, Contrebasse (duo)
4
Ensemble de Violoncelles
4
2 Violons et Basse continue
3
Violoncelle, Orchestre
3
Alto, Orgue
3
Harpe et Orgue
2
Violon, Clarinette, Piano (trio)
2
Violon, Basse continue
2
3 Contrebasses
2
Harpe (partie séparée)
2
Violon, Orgue
2
Autoharp
2
5 Harpes
2
Harpe, Violon, Violoncelle
1
Harpe, Violon (duo)
1
3 Harpes
1
Violon, Trompette et Piano
1
Harpe et Piano
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
4132
Orchestre à Cordes
2663
Batterie
2074
Orchestre
1237
Ensemble Jazz
777
Ensemble de cuivres
369
Cloches
349
Orchestre de chambre
255
Fanfare
128
Batterie (partie séparée)
125
Jazz combo
96
Percussion
91
Ensemble de Percussions
88
Marimba
56
Xylophone, Piano
40
Xylophone
34
Percussion (partie séparée)
31
Timbales
28
Ensemble d'École
13
Vibraphone
12
Piano et Orchestre
10
2 Xylophones
10
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
8
Big band
8
Vibraphone, Piano
7
Vibraphone (partie séparée)
6
Caisse Claire
4
Xylophone ou Marimba ou Vibraphone
2
Quatuor à Vent : 4 instruments à vents
2
2 Percussions
1
Quintette de Cuivres: autres combinaisons
1
Instrumentation Flexible
1
Quintette à Vent
1
Orchestre, Violon
1
3 Marimbas
1
2 Caisses Claires (duo)
1
Marimba, Piano (duo)
1
Batterie-Fanfare
1
Instrumentations suivantes
Retracter
AUTRES
Théorie de la musique
1
Papeterie
1
Vous avez sélectionné:
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Piano et Orchestre
Partitions à imprimer
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1
Hatikvah. The national anthem of Israel. Easy piano.
Piano et Orchestre
Arranged by R.Sloboder. Jewish,Wedding,World. Score. 2 pages. Rivka Sloboder #573316…
(+)
Arranged by R.Sloboder. Jewish,Wedding,World. Score. 2 pages. Rivka Sloboder #5733163. Published by Rivka Sloboder
$8.00
7.19 €
#
Piano et Orchestre
#
R
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Hatikvah. The national anthem of Israel. Easy piano.
#
Rivka Sloboder
#
SheetMusicPlus
Concerto No. 6 for Piano and Orchestra
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Classical Period, 20th Century. Easy/Beginner…
(+)
By Alexander Peskanov. For Piano, Orchestra. Classical Period, 20th Century. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC6. Published by Classical Video Concepts, Inc
$20.00
17.98 €
#
Piano et Orchestre
#
Alexander Peskanov
#
Concerto No. 6 for Piano and Orchestra
#
Classical Video Concepts, Inc
#
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
$200.00
179.84 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Concerto No. 9 (Boston Concerto) for Piano and Orchestra
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner.…
(+)
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC9. Published by Classical Video Concepts, Inc
$20.00
17.98 €
#
Piano et Orchestre
#
Alexander Peskanov
#
Concerto No. 9
#
Classical Video Concepts, Inc
#
SheetMusicPlus
Concerto No. 4 for Piano and Orchestra
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Classical Period. Easy/Beginner. Piano Reduct…
(+)
By Alexander Peskanov. For Piano, Orchestra. Classical Period. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC4. Published by Classical Video Concepts, Inc
$20.00
17.98 €
#
Piano et Orchestre
#
Alexander Peskanov
#
Concerto No. 4 for Piano and Orchestra
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Classical Video Concepts, Inc
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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.
$150.00
134.88 €
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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
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…
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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.
$125.00
112.4 €
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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
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)
$23.99
21.57 €
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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
Concerto No. 9 (Boston Concerto) - Orchestra Score
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner.…
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner. Score. Classical Video Concepts, Inc #M-YC9-SCORE. Published by Classical Video Concepts, Inc
$50.00
44.96 €
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 9
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Classical Video Concepts, Inc
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SheetMusicPlus
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