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--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
Ive
Non classifié
20 993
Piano & claviers
Piano seul
30 826
Piano, Voix
6 968
Piano, Voix et Guitare
5 695
Piano Facile
4 108
Accordéon
2 573
Orgue
1 405
Instruments en Do
1 348
1 Piano, 4 mains
483
Accompagnement Piano
337
Piano grosses notes
218
Piano Trio: piano, violon, violoncelle
214
2 Pianos, 4 mains
128
Piano (partie séparée)
92
Piano Quatuor: piano, violon, alto, violoncelle
74
Orgue, Trompette (duo)
44
Orgue, Piano (duo)
42
Piano Quintette: piano, 2 violons, alto, violoncelle
41
Piano Quatuor: piano, 2 violons, violoncelle
27
1 Piano, 6 mains
23
Ligne De Mélodie, Piano
16
Clavecin
13
Clavier
11
Instrument seul et Orgue
4
Accordéon, Voix
4
Ensemble de Pianos
3
2 Pianos, 8 mains
3
Accordéon, Piano
1
Accordéon et Orchestre
1
Fake Book
1
2 Accordéons
1
2 Orgues (duo)
1
+ 26 instrumentations
Retracter
Guitares
Guitare
5 210
Guitare notes et tablatures
3 579
Basse electrique
3 247
Ukulele
1 286
Ligne De Mélodie, (Paroles) et Accords
1 260
Paroles et Accords
653
Piano, Guitare (duo)
170
Guitare (partie séparée)
163
2 Guitares (duo)
143
4 Guitares (Quatuor)
77
Dulcimer
68
Banjo
67
Mandoline
56
3 Guitares (trio)
38
Ensemble de guitares
34
Mandoline, Piano (duo)
10
Basse électrique (partie séparée)
10
Ukulele Baryton
10
2 Ukuleles
7
Mandoline, Guitare (duo)
7
Partitions De Groupes
6
2 Dulcimers (duo)
4
Guitare, Orchestre
3
Ensemble de Ukulélés
3
Dobro
3
3 Dulcimers (trio)
2
Guitare, Violon, Violoncelle (trio)
2
2 Mandolines (duo)
1
Guitare Tab, Voix, Basse, Batterie
1
Guitare Pedal Steel
1
+ 25 instrumentations
Retracter
Voix
Chorale SATB
8 513
Chorale 3 parties
2 492
Chorale 2 parties
1 431
Voix seule
1 124
Chorale Unison
1 048
Chorale TTBB
1 043
Chorale SSAA
555
Pack Instrumental pour Chorale
502
Voix duo, Piano
292
Chorale
231
Voix Soprano, Piano
225
Voix Alto, Piano
162
Voix Tenor, Piano
153
Voix Baryton, Piano
124
Voix haute
109
Voix duo
97
Voix moyenne, Piano
57
Voix basse, Piano
44
Voix Tenor
41
Chorale SSATB
33
Voix Soprano
30
Chorale SSAATTBB
28
Voix, Guitare
20
Voix Mezzo-Soprano, Piano
13
Chorale SSATTB
11
Chorale SSAB a cappella
9
Soli, choeur mixte et accompagnement
8
Voix basse
8
Chorale SSAB, Piano
6
Chorale SATBB
4
Voix et basse continue
3
Chorale SSAATB
3
Voix haute, Piano
2
Chorale SSAATB A Cappella
2
Voix Baryton
1
Male Voice
1
Voix Soprano, Orchestre
1
Chorale SATTBB A Cappella
1
Chorale SAATB A Cappella
1
Voix Moyenne
1
Voix d'Enfants
1
Chorale SSATBB
1
+ 37 instrumentations
Retracter
Vents
Saxophone
15 180
Flûte traversière
6 458
Clarinette
6 327
Saxophone Alto
1 833
Flûte traversière et Piano
1 721
Saxophone Tenor
1 578
Clarinette et Piano
1 468
Quatuor de Saxophones: 4 saxophones
1 440
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1 311
2 Saxophones (duo)
1 139
Hautbois, Piano (duo)
1 108
Saxophone (partie séparée)
1 090
Saxophone Alto et Piano
1 062
Flûte, Hautbois, Clarinette, Basson
1 053
2 Clarinettes (duo)
910
Flûte à Bec
907
2 Flûtes traversières (duo)
872
Saxophone Tenor et Piano
730
Saxophone Soprano
692
Quatuor de Clarinettes: 4 clarinettes
681
Hautbois
672
Quintette de Saxophone: 5 saxophones
578
Flûte, Clarinette (duo)
441
3 Clarinettes (trio)
431
Saxophone Soprano et Piano
416
Quatuor de Flûtes : 4 flûtes
409
Hautbois (partie séparée)
388
3 Saxophones (trio)
366
Clarinette (partie séparée)
347
2 Flûte à bec (duo)
307
Clarinette, Violon (duo)
300
Trio de Flûtes: 3 flûtes
276
2 Hautbois (duo)
258
Saxophone Baryton, Piano
254
Hautbois, Clarinette (duo)
233
Flûte, Violon
230
Ensemble de Clarinettes
210
Ensemble de saxophones
209
Flute (partie séparée)
201
Hautbois, Basson (duo)
181
Quintette de Clarinettes: 5 clarinettes
178
Clarinette, Harpe (duo)
178
Flûte, Hautbois, Clarinette (trio)
174
Flûte, Hautbois (duo)
162
Saxophone, Clarinette (duo)
161
Flûte, Violon, Piano
161
Ensemble de Flûtes
150
Cor anglais, Piano
143
Clarinette Basse, Piano
123
Clarinette, Basson (duo)
118
Flûte et Guitare
109
Flûte, Alto (duo)
104
Flûte à bec Soprano
103
Flûte, Violoncelle
100
Clarinette et Alto
99
Clarinette, Trompette (duo)
97
Flûte, Clarinette et Basson
96
Flûte, Hautbois, Violon
94
Flûte, Clarinette, Violon (trio)
91
Flûte irlandaise
85
Hautbois, Violoncelle
81
Saxophone Baryton
81
Flûte, Clarinette, Piano (trio)
78
Quintette de Flûte : 5 flûtes
78
Quatuor de Flûtes à bec
78
Clarinette, Violoncelle (duo)
76
Hautbois, Clarinette, Basson (trio d'anches)
70
Flûte, Violoncelle, Piano (trio)
67
Hautbois, Flûte
66
2 Flûtes traversières, Piano
65
2 Clarinettes, Piano
54
Flûte, Saxophone (duo)
54
Ensemble De Flûte à bec
54
Flûte à bec Alto
54
Flûte, Trompette (duo)
53
Flûte, Harpe et Violoncelle
52
Hautbois et alto (duo)
48
Flûte, Hautbois, Basson
47
Flute, harpe et violon
43
Clarinette, Guitare (duo)
41
Cor Anglais
37
3 Flûtes à bec (trio)
36
Harmonica
35
Flûte, Trombone (duo)
32
Flûte à bec Alto, Piano
32
Instruments en Mib
32
Flûte, Hautbois, Piano (trio)
30
Flûte à bec Tenor
29
Hautbois, violon (duo)
28
Flûte, Violon et Violoncelle
28
Ocarina
26
Clarinette, Violoncelle, Piano (trio)
25
Flûte, Basson et Piano
24
2 Clarinettes, Basson
24
Flûte, Alto et Piano
23
2 Saxophones, Piano
23
5 Flûtes à bec
21
Flûte, Tuba (duo)
20
Hautbois, trombone (duo)
19
Flûte à bec Soprano, Piano
19
Flûte, trombone et piano
19
Clarinette, Tuba
18
Clarinette Basse
16
Clarinette, Trombone (duo)
15
Saxophone et Harpe
15
Piccolo, Piano
14
3 Hautbois
13
Hautbois, Harpe
13
Piccolo
12
Flûte, Violon, Violoncelle et Piano
11
Flûte, Clarinette, Cor, Basson (Quartet)
9
Flûte traversière, Orgue (duo)
9
Quintette de Clarinette: Clarinette, Quatuor à Cordes
8
Ensemble à vent
8
Saxophone et Guitare
8
Hautbois, Guitare (duo)
8
Cor anglais, Guitare (duo)
7
Clarinette, trompette et piano
7
Clarinette, Basson, Piano (trio)
7
Clarinette, Contrebasse (duo)
7
Hautbois, Basson et Piano
6
Clarinette, Alto et Piano (trio)
6
Flûte et Trio à cordes
6
Saxophone et Orgue
5
2 Flûtes à bec, Piano
5
Hautbois, Violon, Piano
5
Flûte à Bec, Piano
5
4 Hautbois
5
Hautbois, Clarinette et Piano (Trio)
5
2 Hautbois, Piano
3
Flûte traversière, Basse continue
3
Clarinette, Orchestre
3
Clarinette, Quatuor à cordes et Piano
3
Cornemuse
3
2 Cors Anglais Et Pianoforte
3
Flûte, alto et harpe
3
Hautbois, Trompette (duo)
3
Flûte, Violon, Guitare
3
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
2
Cor anglais et Harpe (duo)
2
Flûte, Violoncelle, Guitare
2
2 Flûtes, 2 Clarinettes (Quatuor)
2
Hautbois, Violoncelle et Piano
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
3 Flûtes à bec, Piano
2
Flute, Cor (duo)
2
Flûte, Alto et Violoncelle
1
Harmonica, Piano
1
Saxophone et Piano
1
Saxophone, Basson (duo)
1
Clarinette, Orgue
1
Saxophone, Tuba (duo)
1
Flûte et Quatuor à Cordes
1
2 Flûtes à bec, Guitare
1
Flûte à bec, Harpe
1
Hautbois, Orgue
1
Ensemble de Hautbois
1
Flûte traversière, Orchestre
1
Flûte à bec Alto, Basse continue
1
Flûte, Guitare, Piano
1
2 Flûtes traversières, Harpe
1
+ 156 instrumentations
Retracter
Cuivres
Trompette
6 319
Trombone
5 837
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1 366
Trompette, Piano
944
Cor
905
Trombone et Piano
895
Quatuor de Cuivres : 2 trompettes, trombone, tuba
729
Trombone (partie séparée)
662
Trompette (partie séparée)
625
Cor et Piano
603
Tuba
589
2 Trombones (duo)
415
Tuba et Piano
389
Euphonium
376
2 Trompettes (duo)
339
Quatuor de Cuivres
312
Quatuor de Cuivres: 2 trompettes, Cor, trombone
305
2 Cors (duo)
209
Trompette, Trombone (duo)
185
Cor (partie séparée)
180
Euphonium, Piano (duo)
169
Tuba (partie séparée)
146
Cor anglais, Piano
143
Quatuor de cuivres: 4 trombones
129
3 Trombones (trio)
126
Ensemble de Trompettes
117
Trompette, Saxophone (duo)
110
Ensemble de Trombones
89
2 Tubas (duo)
85
Trompette, Cor (duo)
67
Trio de Cuivres
60
Quatuor de cuivres: 4 cors
59
2 Euphoniums et 2 Tubas
54
Bass Clef Instruments
43
Trompette, Tuba (duo)
41
Quatuor de cuivres: 4 trompettes
41
Instruments en Sib
38
Cor Anglais
37
4 Tubas
34
3 Trompettes (trio)
34
Ensemble de Cors
30
Trombone basse
26
Cor et Harpe
25
Trombone, Violon (duo)
23
Trombone basse et Piano
20
Trombone, Tuba (duo)
19
Trompette, Harpe
15
Quatuor de cuivres: 2 trompettes, 2 trombones
15
Euphonium, Tuba (duo)
14
Tuba et Orgue
14
Tuba ou Euphonium ou Saxhorn
13
Trombone, Cor (duo)
11
Trompette, Basson (duo)
11
2 Trompettes, Clavier (piano ou orgue)
10
Trompette, Violoncelle et Piano
9
Cor, Violoncelle (duo)
8
Trombone, Orgue
8
3 Tubas (trio)
8
2 Trombones, Piano
8
3 Cors (trio)
8
Cor anglais, Guitare (duo)
7
Cornet A Pistons
6
Trompette, Trombone, Piano
6
Cor, Tuba (duo)
6
Trompette, Violoncelle (duo)
6
Cor et Basson (duo)
5
2 Euphoniums (duo)
5
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
Instruments en Fa
3
Cor et Orgue
3
2 Cors Anglais Et Pianoforte
3
Ensemble de Tubas
3
Cor, Trompette, Trombone (trio)
3
Trombone et orchestre
3
Cor anglais et Harpe (duo)
2
Clarinette, Cor (duo)
2
Euphonium (partie séparée)
2
Trompette, violon (duo)
1
Trombone, Alto (duo)
1
3 Euphoniums
1
2 Cors, Piano
1
Trompette, Orchestre
1
Cornet et orchestre
1
Bugle
1
Trompette, Euphonium (duo)
1
Trompette et Guitare
1
+ 81 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
3 804
Violon
2 867
Violoncelle
2 216
Violon et Piano
2 147
Alto seul
1 787
Violoncelle, Piano
1 239
Alto, Piano
1 149
Violon, Violoncelle (duo)
998
Trio à Cordes: violon, alto, violoncelle
835
Harpe
782
2 Violons (duo)
781
Violon, Alto (duo)
518
2 Violoncelles (duo)
506
Quintette à cordes: 2 violons, alto, violoncelle, basse
500
Harpe, Flûte (duo)
432
Contre Basse
401
2 Altos (duo)
379
Violon (partie séparée)
322
Trio à Cordes: 2 violons, violoncelle
312
Contrebasse, Piano (duo)
279
Contrebasse (partie séparée)
226
Harpe, Violon (duo)
219
Trio à cordes: 3 violins
207
Alto (partie séparée)
200
Alto, Violoncelle (duo)
140
2 Harpes (duo)
127
4 Violoncelles
107
Piano Trio: Violon, Alto, Piano
94
Quatuor à cordes: 4 violons
89
Violoncelle (partie séparée)
85
Violon, Basson (duo)
78
Trio à cordes
76
Trio à Cordes: 2 violons, alto
76
2 Contrebasses (duo)
68
Trio à Cordes: 3 violoncelles
64
Violon, Guitare (duo)
51
Trio à cordes: 3 altos
34
2 Violons, Piano
32
Harpe, Violoncelle (duo)
26
Violoncelle, Contrebasse (duo)
26
Violon, Tuba (duo)
25
Violoncelle , Guitare (duo)
24
Quatuor à cordes : 4 altos
22
Violon, Clarinette, Piano (trio)
22
Quintette à cordes : 2 violons, alto et 2 violoncelles
21
Ensemble de Violons
21
Harpe, Voix
21
Quintette à cordes: 2 violons, 2 altos, violoncelle
21
Alto et Harpe
20
Flûte, Contrebasse (duo)
18
Ensemble d'Altos
18
Alto et Basson
16
Violon, Orgue
11
Harpe et mandoline
10
2 Violoncelles, Piano
9
Alto, Guitare (duo)
9
Ensemble de Violoncelles
8
Harpe, Violon, Violoncelle
8
Harpe, Trombone (duo)
7
Violoncelle, Orchestre
5
Violoncelle, Orgue
5
Violon, Violoncelle, Clarinette
5
Violon, Basse continue
4
4 Contrebasses
4
3 Contrebasses
3
4 Harpes
3
Harpe et Orgue
2
Violoncelle, Basse continue
2
Harpe (partie séparée)
2
Violon, Trompette et Piano
2
Harpe et Piano
2
2 Altos, Piano
2
3 Harpes
1
Alto et orchestre
1
Harpe, Quatuor à cordes
1
Alto, Orgue
1
2 Violons et Basse continue
1
+ 72 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
7 369
Batterie
5 779
Orchestre
2 023
Orchestre à Cordes
1 625
Cloches
1 341
Ensemble Jazz
1 023
Fanfare
744
Ensemble de cuivres
637
Jazz combo
442
Orchestre de chambre
378
Percussion (partie séparée)
213
Percussion
183
Ensemble de Percussions
143
Batterie (partie séparée)
123
Marimba
63
Timbales (partie séparée)
30
Vibraphone
29
Xylophone
29
Xylophone, Piano
26
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
22
Instrumentation Flexible
17
Timbales
13
Big band
9
Piano et Orchestre
7
Ensemble d'École
6
2 Xylophones
5
Quintette à Vent
5
Caisse Claire
4
Orchestre, Violon
4
Vibraphone et Marimba
3
Quintette de Cuivres: autres combinaisons
3
2 Caisses Claires (duo)
1
2 Marimbas
1
3 Percussions
1
Bongos
1
3 Marimbas
1
Conga
1
Marimba, Piano (duo)
1
Cajon
1
Marimba et Orgue
1
+ 35 instrumentations
Retracter
Autres
Formation musicale - Solfège
134
Théorie de la musique
5
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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← INSTRUMENTATIONS
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
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
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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
22 €
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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 D Major
Piano et Orchestre
Piano (harpsichord) and orchestra - intermediate - Digital Download SKU: S9.Q47513 …
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Piano (harpsichord) and orchestra - intermediate - Digital Download SKU: S9.Q47513 Composed by Johann Wenzel Anton Stamitz. Arranged by Karlheinz Schultz-Hauser. This edition: piano reduction for 2 pianos. Schott Archive. Downloadable, vocal/piano score. Op. 10/1. Duration 14 minutes. Schott Music - Digital #Q47513. Published by Schott Music - Digital (S9.Q47513). Key: D major.
$23.99
22 €
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Piano et Orchestre
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Johann Wenzel Anton Stamitz
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Karlheinz Schultz-Hauser
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Concerto D Major
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Schott Music - Digital
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SheetMusicPlus
Concerto No. 25 C major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus …
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Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21383. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21383). Key: C major.His concertos justifiably rank among the milestones of solo music accompanied by orchestra. In Viennese Classicism, piano music flourished thanks to innovations in the instrumental technique, and even Mozart fully exploited the advantages of the fortepiano action over the rigid sound of the harpsichord in his works. Piano Concerto No. 25 is Mozart’s longest concerto. The harmonic structure, the continuous change between major and minor, the witty dialoguing between solo and orchestra, the strong contrapuntal saturation, the frequent use of the pedal point as well as the overflowing melodic abundance give the work a character all its own.
$12.99
11.91 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concerto No. 25 C major
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Ernst Eulenburg & Co. GmbH - 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…
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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
183.44 €
#
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 - 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
137.58 €
#
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 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.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
114.65 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Give Thanks To The Lord
Piano et Orchestre
By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Chri…
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian, Easter. Advanced Intermediate. Octavo. Published by Exultet Music
$3.99
3.66 €
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Piano et Orchestre
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Stephen DeCesare
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Give Thanks To The Lord
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Exultet Music
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SheetMusicPlus
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