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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
Parts.
Non classifié
81 909
Piano & claviers
Piano, Voix
12 014
Piano seul
1 610
Piano Trio: piano, violon, violoncelle
1 456
1 Piano, 4 mains
1 326
Piano, Voix et Guitare
755
Accompagnement Piano
619
Piano Facile
606
Piano Quatuor: piano, violon, alto, violoncelle
488
Piano Quintette: piano, 2 violons, alto, violoncelle
448
Piano Quatuor: piano, 2 violons, violoncelle
364
2 Pianos, 4 mains
290
Orgue
288
Orgue, Trompette (duo)
237
Instruments en Do
211
Orgue, Piano (duo)
190
Piano (partie séparée)
123
1 Piano, 6 mains
88
Ensemble d'Accordéons
41
2 Pianos, 8 mains
24
Accordéon
20
2 Accordéons
17
Clavier
12
Fake Book
10
Accordéon, Corde(s)
7
Clavecin
6
Accordéon, Piano
5
Tous Les Instruments
3
Accordéon et Orchestre
2
Orgue et Orchestre
2
Ensemble de Pianos
2
Piano Trio: Instruments de chambre mixtes
1
2 Orgues (duo)
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Orgue, Voix
1
+ 29 instrumentations
Retracter
Guitares
2 Guitares (duo)
931
4 Guitares (Quatuor)
624
Guitare notes et tablatures
429
Guitare
318
3 Guitares (trio)
314
Ensemble de guitares
234
Guitare (partie séparée)
221
Basse electrique
102
Ukulele
98
Piano, Guitare (duo)
56
2 Dulcimers (duo)
55
Mandoline
49
Ligne De Mélodie, (Paroles) et Accords
37
Ensemble de Ukulélés
37
Guitare, Violon, Violoncelle (trio)
33
Mandoline, Guitare (duo)
21
3 Dulcimers (trio)
20
Guitare, Flûte, Clarinette
17
2 Ukuleles
16
Dulcimer
15
Orchestre à Plectres
8
Guitare, Quatuor à cordes
7
Banjo
7
Guitare, Orchestre
7
Paroles et Accords
6
Ukulele Baryton
6
Mandoline, Piano (duo)
5
2 Mandolines (duo)
5
Cithare
2
2 Guitares et Orchestre
1
Luth
1
Bouzouki
1
Guitare Pedal Steel
1
2 Guitares, Clarinette (trio)
1
Dobro
1
+ 30 instrumentations
Retracter
Voix
Chorale SATB
4 647
Chorale 3 parties
1 462
Chorale TTBB
814
Chorale 2 parties
741
Chorale SSAA
506
Chorale Unison
301
Voix duo, Piano
107
Chorale
96
Voix duo
95
Pack Instrumental pour Chorale
70
Voix d'Enfants
27
Voix seule
19
Male Voice
17
Voix Soprano, Piano
16
Voix haute
13
Chorale SSAB a cappella
12
Chorale SSATB
12
Voix Baryton, Piano
12
Soli, choeur mixte et accompagnement
11
Chorale SSAATTBB
10
Voix moyenne, Piano
10
Voix Tenor, Piano
10
Voix, Guitare
9
Voix basse, Piano
6
Voix Alto, Piano
6
Chorale SSATTB
5
Chorale SSAB, Piano
5
Voix Mezzo-Soprano, Piano
3
Voix Soprano
2
Voix Tenor
2
Voix d'Enfants, Piano
2
Chorale SATBB
1
Voix Soprano, Orchestre
1
Voix et basse continue
1
Chorale SAATB A Cappella
1
Chorale SSAATB
1
+ 31 instrumentations
Retracter
Vents
Flûte traversière et Piano
3 492
Quatuor de Saxophones: 4 saxophones
3 158
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3 014
2 Saxophones (duo)
2 821
Quatuor de Clarinettes: 4 clarinettes
2 603
Clarinette et Piano
2 346
Saxophone Alto et Piano
2 172
Flûte, Hautbois, Clarinette, Basson
1 941
Saxophone Tenor et Piano
1 868
Hautbois, Piano (duo)
1 816
Quatuor de Flûtes : 4 flûtes
1 565
2 Clarinettes (duo)
1 538
2 Flûtes traversières (duo)
1 477
Flûte et Guitare
1 198
Flûte, Clarinette (duo)
1 145
3 Clarinettes (trio)
1 112
Saxophone Soprano et Piano
1 016
Quintette de Saxophone: 5 saxophones
939
Ensemble de Flûtes
906
Trio de Flûtes: 3 flûtes
819
Ensemble de Clarinettes
725
Saxophone (partie séparée)
715
Hautbois, Basson (duo)
707
Clarinette
660
3 Saxophones (trio)
629
Quintette de Clarinettes: 5 clarinettes
598
Flûte, Violon
559
Clarinette, Violon (duo)
546
Saxophone, Clarinette (duo)
540
Quatuor de Flûtes à bec
449
Hautbois, Clarinette (duo)
446
Flûte, Violon, Piano
404
Ensemble de saxophones
393
Saxophone Baryton, Piano
363
Clarinette, Guitare (duo)
339
Hautbois, Flûte
337
Clarinette Basse, Piano
317
Clarinette, Trompette (duo)
316
Flûte, Violon et Violoncelle
312
Clarinette, Basson (duo)
309
Flûte, Violoncelle
305
2 Flûte à bec (duo)
289
Piccolo, Piano
283
Flûte à Bec
276
Clarinette et Alto
266
Flûte, Alto (duo)
266
Flûte, Saxophone (duo)
243
Flûte, Clarinette et Basson
241
Flûte, Hautbois (duo)
232
Flûte, Clarinette, Piano (trio)
226
Saxophone et Guitare
222
Flûte traversière
218
2 Saxophones, Piano
217
Flûte, Violoncelle, Piano (trio)
201
Flûte à bec Soprano, Piano
194
2 Hautbois (duo)
186
Flûte à Bec, Piano
177
Flûte, Hautbois, Clarinette (trio)
173
3 Flûtes à bec (trio)
172
Flûte, Trompette (duo)
168
Clarinette, Violoncelle (duo)
164
Quintette de Flûte : 5 flûtes
163
2 Flûtes traversières, Piano
161
2 Clarinettes, Piano
161
Flûte à bec Tenor
160
Flûte à bec Alto, Piano
159
Cor anglais, Piano
157
Clarinette (partie séparée)
148
Flute (partie séparée)
140
Hautbois, Clarinette, Basson (trio d'anches)
111
Flûte, Hautbois, Basson
110
Clarinette, Violoncelle, Piano (trio)
104
Cor anglais, Guitare (duo)
103
Flûte, Basson et Piano
99
5 Flûtes à bec
99
Clarinette, Harpe (duo)
97
Saxophone et Piano
97
Ensemble De Flûte à bec
88
Flûte, Trombone (duo)
88
Saxophone Alto
84
Hautbois, Guitare (duo)
83
Flûte, Clarinette, Violon (trio)
65
Flûte, Hautbois, Piano (trio)
64
Flûte, Violon, Violoncelle et Piano
63
Flûte, Alto et Piano
63
Saxophone et Orgue
59
Hautbois, Violoncelle
57
Hautbois (partie séparée)
52
Flûte à bec Soprano
45
Hautbois
44
Saxophone Tenor
44
Clarinette, Basson, Piano (trio)
43
Clarinette, Trombone (duo)
41
Flute, harpe et violon
41
Flûte à bec, Guitare (duo)
39
Hautbois et alto (duo)
38
Flûte et Quatuor à Cordes
38
Saxophone
38
Flûte, alto et harpe
37
Instruments en Mib
36
2 Cors Anglais Et Pianoforte
36
Flûte traversière, Orgue (duo)
33
Flûte, trombone et piano
33
Hautbois, Harpe
31
Quintette de Clarinette: Clarinette, Quatuor à Cordes
30
Flûte, Tuba (duo)
29
Saxophone et Harpe
28
Ensemble à vent
27
2 Clarinettes, Basson
27
Hautbois, violon (duo)
27
Flûte et Trio à cordes
26
Clarinette, Alto et Piano (trio)
26
3 Hautbois
25
Flûte à bec Alto
24
Clarinette, trompette et piano
24
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
23
Clarinette, Tuba
22
Hautbois, Violoncelle et Piano
21
Flûte, Clarinette, Cor, Basson (Quartet)
21
4 Hautbois
18
Flûte, Harpe et Violoncelle
18
Flûte, Alto et Violoncelle
18
Flûte, Violoncelle, Guitare
17
Hautbois, Basson et Piano
17
Clarinette, Orgue
16
Hautbois, trombone (duo)
15
Saxophone, Violon (duo)
15
Cor anglais et Harpe (duo)
15
Ocarina
14
Flûte traversière, Orchestre
14
Flute, Cor (duo)
13
Clarinette, Orchestre
11
Saxophone, Basson (duo)
11
Flûte, Violon, Guitare
11
2 Flûtes à bec, Piano
11
2 Flûtes traversières, Guitare
10
Hautbois, Clarinette et Piano (Trio)
10
2 Flûtes traversières, Harpe
9
Flûte à bec, Harpe
9
Hautbois, Violon, Piano
8
Saxophone, Tuba (duo)
8
Cor Anglais
8
Flûte, Hautbois, Violon
7
2 Hautbois et Basson
7
Hautbois, Violin, Alto et Violoncelle (Quatuor)
7
Piccolo
6
Ensemble de Hautbois
5
Saxophone Soprano
5
2 Hautbois, Piano
5
2 Hautbois et Cor anglais
4
Saxophone Baryton
4
2 Flûtes, 2 Clarinettes (Quatuor)
4
Hautbois, Quatuor à cordes
4
Hautbois, Clarinette, Basson et Piano
3
Clarinette, Quatuor à cordes et Piano
3
2 Flûtes, Basse continue
3
Flûte à bec Alto, Basse continue
3
Clarinette, Saxophone, Piano
3
Harmonica, Piano
2
Hautbois et Orchestre
2
Clarinette Basse
2
Flûte irlandaise
2
2 Flûtes à bec, Guitare
1
Hautbois, Orgue
1
Flûte à bec Soprano, Basse continue
1
Saxophone et violoncelle
1
Flute, alto, violoncelle et guitare
1
2 clarinettes, 2 bassons
1
Clarinette, Contrebasse (duo)
1
Flûte de Pan
1
2 Hautbois, 2 Cors et 2 Bassons
1
Hautbois, Trompette (duo)
1
Flûte traversière, Basse continue
1
3 Flûtes à bec, Piano
1
Cornemuse
1
Harmonica
1
+ 171 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
5 994
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4 059
Trombone et Piano
2 034
Trompette, Piano
1 951
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1 410
Quatuor de cuivres: 4 trombones
1 142
Cor et Piano
1 030
Quatuor de Cuivres
963
Trompette, Trombone (duo)
883
Quatuor de cuivres: 4 cors
702
Trombone (partie séparée)
627
Tuba et Piano
607
Trompette (partie séparée)
591
2 Euphoniums et 2 Tubas
516
4 Tubas
509
Trompette, Saxophone (duo)
495
Euphonium, Piano (duo)
461
2 Trombones (duo)
458
2 Trompettes (duo)
390
Ensemble de Trombones
380
2 Cors (duo)
367
3 Trombones (trio)
364
Trio de Cuivres
313
Trompette
307
Trompette, Cor (duo)
285
3 Trompettes (trio)
282
Ensemble de Trompettes
230
Trombone basse et Piano
221
Quatuor de cuivres: 4 trompettes
185
2 Tubas (duo)
170
Trompette, Tuba (duo)
170
Ensemble de Cors
162
Trombone, Tuba (duo)
162
Cor anglais, Piano
157
Cor (partie séparée)
132
Euphonium, Tuba (duo)
105
Cor anglais, Guitare (duo)
103
2 Trompettes, Clavier (piano ou orgue)
101
Trombone
93
Tuba (partie séparée)
92
3 Cors (trio)
81
Tuba et Orgue
76
Cor
74
Trombone, Orgue
55
2 Euphoniums (duo)
55
Tuba
51
Ensemble de Tubas
50
Cor et Harpe
47
Bass Clef Instruments
46
Cor, Tuba (duo)
46
Quatuor de cuivres: 2 trompettes, 2 trombones
44
Trompette, Violoncelle et Piano
43
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
41
Trombone, Violon (duo)
41
Instruments en Sib
37
2 Cors Anglais Et Pianoforte
36
Clarinette, Cor (duo)
33
Trompette, violon (duo)
31
Instruments en Fa
30
Trompette, Harpe
30
Trombone, Cor (duo)
27
Trompette, Trombone, Piano
27
Trompette, Violoncelle (duo)
27
Euphonium
26
Trompette et Guitare
25
Cor et Orgue
21
Cor, Trompette, Trombone (trio)
19
Trombone basse
18
Cor, Violoncelle (duo)
16
2 Trombones, Piano
15
4 Euphoniums
15
3 Tubas (trio)
15
Cor anglais et Harpe (duo)
15
Cornet et Piano
14
3 Euphoniums
12
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
12
Trompette, Orchestre
10
Trombone et orchestre
8
Cor Anglais
8
2 Cors, Piano
8
Trompette, Euphonium (duo)
6
Cor, Violoncelle et Piano
6
Trompette, Basson (duo)
5
Cor et Basson (duo)
3
Cor, Orchestre
3
Saxhorn basse ou Euphonium ou Tuba et Piano
3
Trombone, violoncelle (duo)
3
Cornet et orchestre
2
Euphonium Ou Saxhorn Et Piano
1
Cornet A Pistons
1
Euphonium (partie séparée)
1
Bugle
1
+ 87 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
24 411
Violon et Piano
4 997
Violon, Violoncelle (duo)
3 877
Violoncelle, Piano
3 526
Trio à Cordes: violon, alto, violoncelle
3 481
Alto, Piano
2 751
Violon, Alto (duo)
1 834
2 Violons (duo)
1 203
Trio à Cordes: 2 violons, violoncelle
1 097
Alto, Violoncelle (duo)
933
Quintette à cordes: 2 violons, alto, violoncelle, basse
928
4 Violoncelles
915
Trio à cordes: 3 violins
761
2 Violoncelles (duo)
723
Violon
639
Violon, Guitare (duo)
593
Trio à cordes
577
Piano Trio: Violon, Alto, Piano
536
Trio à Cordes: 3 violoncelles
517
Contrebasse, Piano (duo)
433
Harpe
424
2 Harpes (duo)
423
Violoncelle , Guitare (duo)
412
2 Altos (duo)
407
Quatuor à cordes: 4 violons
400
Violoncelle
296
2 Violons, Piano
269
Violoncelle, Contrebasse (duo)
268
Quatuor à cordes : 4 altos
256
Violon (partie séparée)
250
Trio à Cordes: 2 violons, alto
242
Alto, Guitare (duo)
232
Trio à cordes: 3 altos
230
Harpe, Flûte (duo)
223
Harpe, Violon (duo)
220
Contrebasse (partie séparée)
212
2 Contrebasses (duo)
161
Alto seul
146
Violon, Basson (duo)
98
Harpe, Violoncelle (duo)
96
2 Violoncelles, Piano
91
Alto (partie séparée)
87
Ensemble de Violoncelles
73
Violon, Clarinette, Piano (trio)
72
Alto et Harpe
63
Harpe et Piano
61
2 Altos, Piano
53
4 Contrebasses
52
Contre Basse
48
Ensemble de Violons
45
Quintette à cordes: 2 violons, 2 altos, violoncelle
44
Harpe, Voix
44
Violoncelle, Orgue
42
Violon, Orgue
42
Violoncelle (partie séparée)
39
Flûte, Contrebasse (duo)
34
Quintette à cordes : 2 violons, alto et 2 violoncelles
32
Ensemble d'Altos
31
Alto et Basson
31
Harpe, Violon, Violoncelle
31
3 Contrebasses
26
Violoncelle, Orchestre
25
Violon, Tuba (duo)
23
3 Harpes
17
Violon, Contrebasse (duo)
15
Alto, Orgue
13
Violon, Trompette et Piano
12
Harpe, Trombone (duo)
10
Violon, Violoncelle, Clarinette
8
5 Harpes
6
Harpe, Orchestre
6
Harpe, Quatuor à cordes
5
Alto et orchestre
5
Harpe et mandoline
5
4 Harpes
4
Violoncelle et Marimba
3
2 Violons et Basse continue
3
Ensemble de Contre basses
3
Harpe (partie séparée)
2
Violoncelle, Basse continue
2
Violon, Clarinette et Guitare
1
Autoharp
1
Violon, Basse continue
1
Harpe et Orgue
1
+ 79 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
9 425
Orchestre
9 201
Orchestre à Cordes
7 924
Ensemble Jazz
5 860
Ensemble de cuivres
5 524
Orchestre de chambre
2 792
Fanfare
2 119
Jazz combo
1 843
Ensemble de Percussions
1 285
Cloches
316
Batterie
300
Quintette à Vent
238
Batterie (partie séparée)
114
Percussion (partie séparée)
94
Quatuor à Vent : 4 instruments à vents
91
Instrumentation Flexible
50
Vibraphone (partie séparée)
49
Big band
47
Marimba
37
Batterie-Fanfare
30
Quintette de Cuivres: autres combinaisons
30
Percussion
26
Orchestre, Violon
25
Ensemble d'École
24
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
22
Xylophone, Piano
22
Vibraphone
22
Vibraphone et Marimba
21
3 Marimbas
18
Piano et Orchestre
18
Trio à Vent: 3 instruments à vents
11
3 Percussions
9
Timbales
8
Timbales (partie séparée)
7
Xylophone
7
2 Marimbas
6
Marimba, Piano (duo)
5
Voix et Orchestre
4
Caisse Claire
4
2 Caisses Claires (duo)
3
2 Percussions
2
Orchestre Symphonique
2
Xylophone (partie séparée)
1
Marimba ou Xylophone et Piano
1
Caisse Claire, Piano
1
Mariachi
1
Vibraphone, Piano
1
+ 42 instrumentations
Retracter
Autres
Formation musicale - Solfège
42
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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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
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Gregory Sullivan Isaacs: Quiet Night for piano and orchestra - score and complete parts
Piano et Orchestre
Composed by Gregory Sullivan Isaacs. 21st Century, Minimalism, Christmas. Score, Set of Pa…
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Composed by Gregory Sullivan Isaacs. 21st Century, Minimalism, Christmas. Score, Set of Parts, Solo Part. 32 pages. Published by Musik Fabrik (S0.136477). - Score,Set of Parts,Solo Part - 21st Century,Minimalism,Christmas - Musik Fabrik
$38.95
35.85 €
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Piano et Orchestre
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Quiet Night for piano and orchestra - score and complete parts
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Musik Fabrik
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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…
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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
115.04 €
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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 String Orchestra
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www.mattrileymusic.com
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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…
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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
115.04 €
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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 String 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
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
184.06 €
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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
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…
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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
17.95 €
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Piano et Orchestre
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Adolphe-Charles Adam
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Ognyan Petrov
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O Holy Night- Arranged for Piano and String orchestra
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Ognyan Petrov
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SheetMusicPlus
Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
Piano et Orchestre
String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang A…
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String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang Amadeus Mozart. Arranged by Santino Cara. Classical. Score and parts. 271 pages. Santino Cara #5197099. Published by Santino Cara (A0.517429). Complete score and parts of the Piano Concerto No.20 in D minor K.466 for Piano solo and Orchestra. Composed in 1785 in Vienna by Wolfgang Amadeus Mozart. Rewritten and elaborated in Rome in 2019 by Santino Cara.
$26.20
24.11 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Santino Cara
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Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
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Santino Cara
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SheetMusicPlus
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
4.6 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Helios D'Andrea
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H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
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D'Andrea Helios
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SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7.11 €
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Piano et Orchestre
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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Genesis
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SheetMusicPlus
Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Vi…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Viola,Violin - Level 3 - Digital Download SKU: A0.981544 Composed by Helios D'Andrea. Classical. Score and parts. 12 pages. D'Andrea Helios #6574203. Published by D'Andrea Helios (A0.981544).
$10.00
9.2 €
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Piano et Orchestre
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Helios D'Andrea
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Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
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D'Andrea Helios
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SheetMusicPlus
Tribute to Chopin (Omaggio a Chopin) for piano and orchestra
Piano et Orchestre
Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508…
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Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508 Composed by Helios D'Andrea. 20th Century,Contemporary. Score and parts. 5 pages. D'Andrea Helios #4846343. Published by D'Andrea Helios (A0.981508). Nice music composed for piano and orchestra
$15.00
13.8 €
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Piano et Orchestre
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Helios D'Andrea
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Tribute to Chopin
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D'Andrea Helios
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SheetMusicPlus
Passions (for piano and orchestra)
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Tr…
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Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.863537 Composed by Jordan Grigg. 20th Century,Concert,Standards. Score and parts. 52 pages. Jordan Grigg #3388747. Published by Jordan Grigg (A0.863537).
$15.95
14.68 €
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Piano et Orchestre
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Jordan Grigg
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Passions
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Jordan Grigg
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SheetMusicPlus
Diamond Dust
Piano et Orchestre
By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and p…
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By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and parts. 19 pages. Roger Hudson Music #5219395. Published by Roger Hudson Music
Featured on Jeff Beck\'s Blow by Blow album. Composed by Bernie Holland. This arrangement by Roger Hudson for the Music City Youth Orchestra and electric violinist Tracy Silverman. MCYO directed by Walter Bitner. Performed at Schermerhorn Symphony Center, Nashville, May 2011 .Featured on Jeff Beck\'s Blow by Blow album. Composed by Bernie Holland. This arrangement by Roger Hudson for the Music City Youth Orchestra and electric violinist Tracy Silverman. MCYO directed by Walter Bitner. Performed at Schermerhorn Symphony Center, Nashville, May 2011 .
$19.99
18.4 €
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Piano et Orchestre
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Jeff Beck
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Roger Hudson
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Diamond Dust
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Roger Hudson Music
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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.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
138.05 €
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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.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
115.04 €
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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
92.02 €
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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
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)
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Multicolored Blues (strings)
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By Bradley Sowash. For Piano, Orchestra. Blues, Instructional, Jazz. Intermediate. Set of …
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By Bradley Sowash. For Piano, Orchestra. Blues, Instructional, Jazz. Intermediate. Set of Parts, Piano Reduction, Score. Bradley Sowash Music #MULTICOLORED. Published by Bradley Sowash Music
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Multicolored Blues
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Bradley Sowash Music
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