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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
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BASSON
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CHORALE - CHAN…
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
HARMONICA
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HAUTBOIS
LIVRES
LUTH
MANDOLINE
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SYNTHETISEUR
TROMBONE
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TUBA
UKULELE
VIBRAPHONE
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VIOLONCELLE
XYLOPHONE
We Three Kings, for Piano, Flute and Violin
Non classifié
20
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Piano seul
1
Piano, Voix et Guitare
1
Piano Trio: piano, violon, violoncelle
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2
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1
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1
Saxophone Alto et Piano
1
Flûte, Violon, Violoncelle et Piano
1
Saxophone Tenor et Piano
1
+ 3 instrumentations
Retracter
Cuivres
Trompette
1
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1
Cor et Piano
1
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2
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FORMATION M…
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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
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Vous avez sélectionné:
We Three Kings, for Piano, Flute and Violin
Partitions à imprimer
52 partitions trouvées
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We Three Kings, for Piano, Flute and Violin
Flûte, Violon, Piano
Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 3 - Digital Download …
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Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 3 - Digital Download SKU: A0.544335 Composed by John Henry Hopkins Jr. Arranged by Cindy Blevins. Christmas. 9 pages. Cindy Blevins #3582889. Published by Cindy Blevins (A0.544335). This is a beautiful, playable arrangement for piano, flute and violin. You receive the score, the piano part, the flute part and the violin part. My website: https://www.blevinsmusic.com
$5.99
5.51 €
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Flûte, Violon, Piano
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John Henry Hopkins Jr
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Cindy Blevins
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We Three Kings, for Piano, Flute and Violin
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Cindy Blevins
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SheetMusicPlus
We Three Kings (Quartet for Flute, Violin, Cello and Piano)
Flûte, Violon, Violoncelle et Piano
Small Ensemble Cello,Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.523232…
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Small Ensemble Cello,Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.523232 Composed by John Henry Hopkins, Jr., Enrique Granados. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. Score and parts. 23 pages. John A. Dempsey #3384035. Published by John A. Dempsey (A0.523232). This quartet for flute, violin, cello and piano of the warm, evocative Christmas carol We Three Kings of Orient Are follows a musical path that merges with the wintry road leading to Enrique Granados' delicately beautiful piece Oriental.  A bit of holiday serendipity!  Recommended for Christmas pageants, plays and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events, as a prelude, postlude, an offertory, interlude, Christmas play overture, silent prayer accompaniment and special music.  19 pages of music (that includes separate two-page parts for flute, violin and cello).  Key: A minor   We three kings of Orient are: bearing gifts we traverse afar   Field and fountain, moor and mountain - following yonder star.   O star of wonder, star of night; star with royal beauty bright,   Westward leading, still proceeding, guide us to Thy perfect light.
$14.00
12.88 €
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Flûte, Violon, Violoncelle et Piano
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John Henry Hopkins, Jr
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John A
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We Three Kings
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John A. Dempsey
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SheetMusicPlus
8 Swinging Xmas Carols for Violin & Piano
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.1314618 By Keith Terrett. By Vari…
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Piano,Violin - Level 3 - Digital Download SKU: A0.1314618 By Keith Terrett. By Various. Arranged by Keith Terrett. 20th Century,Christmas,Praise & Worship,Traditional. 30 pages. Keith Terrett #903372. Published by Keith Terrett (A0.1314618). Eight jazzy xmas carols arranged for Violin & Piano; in an up-beat and somewhat jazzy manner. This challenging set of carols, offers players in general, something very different for those Christmas concerts and recitals, give them a go, and I am sure that you won’t be disappointed!The set includes: Ding Dong Merrily On High, Silent Night,We Three Kings,Away in a Manger, Joy to the World, God Rest Ye Merry Gentlemen, Deck the Halls & Good King Wenceslas.The part is all written out with jazz inflections and articulation included. The Piano part is all written out, but also includes the jazz chords for players who wish to comp. These Carols are playable by moderately advanced performers and are perfect for parties, church services, busking & recitals. Range is very moderate, nothing high at all.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible!Reviewer Chet Heflin Date 29th Sep 2006Bluesy Xmas! Keith Terrett has done an outstanding job of injecting jazz and blues into these holiday favorites. The writing beginning in measure 13 of Ding Dong Merrily On High is outstanding. Check out the wonderful contrast in movement between the flute and bass. This arrangement of Xmas carols would be a wonderful addition to any future holiday program. Well done Keith! Have fun! Caroling (singing carols in the street) is one of the oldest customs in Great Britain, going back to the Middle Ages when beggars, seeking food, money, or drink, would wander the streets singing holiday songs.
$15.99
14.72 €
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Violon et Piano
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Keith Terrett
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Keith Terrett
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Piano
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8 Swinging Xmas Carols for Violin & Piano
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Keith Terrett
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SheetMusicPlus
Flute, Violin and Piano for Christmas, Vol. II (12 arrangements)
Flûte, Violon, Piano
Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.1490634 Composed by Various…
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Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.1490634 Composed by Various. Arranged by Cindy Blevins. Christmas. 104 pages. Cindy Blevins #1067437. Published by Cindy Blevins (A0.1490634). Flute, Violin and Piano for Christmas, Vol. II contains 12 beautiful arrangements. You receive the scores and the separate parts. You can view some score samples. The audio sample is We Three Kings. The songs included in this book are: Angels We Have Heard On High, Bring a Torch, Jeannette, Isabella, Deck the Halls, God Rest Ye Merry, Gentlemen, Greensleeves, In the Bleak Midwinter, Jesu, Joy of Man's Desiring, Joy to the World, Silent Night, Sussex Carol, The Son of Mary and We Three Kings.
$24.95
22.96 €
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Flûte, Violon, Piano
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Various
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Cindy Blevins
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Flute, Violin and Piano for Christmas, Vol. II
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Cindy Blevins
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SheetMusicPlus
What Child Is This (with "We Three Kings") (Flute or Violin solo and Piano)
Violon et Piano
Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 2 - Digital Download …
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Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.627223 By Stephen DeCesare. By Traditional, John H. Hopkins Jr. Arranged by Stephen DeCesare. Christian,Christmas,Praise & Worship,Sacred,Standards. Score and parts. 15 pages. Exultet Music #5981749. Published by Exultet Music (A0.627223). Two of the most played Christmas carols have now been freshly arranged and joined together and arranged for a Flute or Violin solo with Piano accompaniment. Accessible and appropriate for any church or concert setting. Â An accompaniment track is also available.
$4.99
4.59 €
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Violon et Piano
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Stephen DeCesare
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Stephen DeCesare
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What Child Is This
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Exultet Music
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SheetMusicPlus
We Three Kings of Orient Are--flute solo
Flûte traversière et Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.786765 Composed by John Henry Hopk…
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Flute,Piano - Level 3 - Digital Download SKU: A0.786765 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434665. Published by Beka Wilson (A0.786765). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
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Flûte traversière et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--flute solo
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Beka Wilson
#
SheetMusicPlus
We Three Kings of Orient Are--violin solo
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.786773 Composed by John Henry Hop…
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Piano,Violin - Level 3 - Digital Download SKU: A0.786773 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. 9 pages. Beka Wilson #6434681. Published by Beka Wilson (A0.786773). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
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Violon et Piano
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John Henry Hopkins Jr
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Beka Wilson
#
We Three Kings of Orient Are--violin solo
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Beka Wilson
#
SheetMusicPlus
We Three Kings of Orient Are--trombone solo
Trombone et Piano
Piano,Trombone - Level 3 - Digital Download SKU: A0.786770 Composed by John Henry H…
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Piano,Trombone - Level 3 - Digital Download SKU: A0.786770 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434673. Published by Beka Wilson (A0.786770). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
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Trombone et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--trombone solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--clarinet solo
Clarinette et Piano
Clarinet,Piano - Level 3 - Digital Download SKU: A0.786766 Composed by John Henry H…
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Clarinet,Piano - Level 3 - Digital Download SKU: A0.786766 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434655. Published by Beka Wilson (A0.786766). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
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Clarinette et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--clarinet solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--horn solo
Cor et Piano
French Horn,Piano - Level 3 - Digital Download SKU: A0.786767 Composed by John Henr…
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French Horn,Piano - Level 3 - Digital Download SKU: A0.786767 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434667. Published by Beka Wilson (A0.786767). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
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Cor et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--horn solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--alto sax solo
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.786760 Composed by John H…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.786760 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434637. Published by Beka Wilson (A0.786760). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
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Saxophone Alto et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--alto sax solo
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Beka Wilson
#
SheetMusicPlus
We Three Kings of Orient Are--tenor sax solo
Saxophone Tenor et Piano
Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.786768 Composed by John …
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Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.786768 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434671. Published by Beka Wilson (A0.786768). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
#
Saxophone Tenor et Piano
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John Henry Hopkins Jr
#
Beka Wilson
#
We Three Kings of Orient Are--tenor sax solo
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Beka Wilson
#
SheetMusicPlus
We Three Kings of Orient Are--bassoon solo
Basson, Piano (duo)
Bassoon,Piano - Level 3 - Digital Download SKU: A0.786763 Composed by John Henry Ho…
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Bassoon,Piano - Level 3 - Digital Download SKU: A0.786763 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434639. Published by Beka Wilson (A0.786763). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
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Basson, Piano (duo)
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John Henry Hopkins Jr
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Beka Wilson
#
We Three Kings of Orient Are--bassoon solo
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Beka Wilson
#
SheetMusicPlus
We Three Kings of Orient Are--viola solo
Alto, Piano
Piano,Viola - Level 3 - Digital Download SKU: A0.786771 Composed by John Henry Hopk…
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Piano,Viola - Level 3 - Digital Download SKU: A0.786771 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434679. Published by Beka Wilson (A0.786771). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
#
Alto, Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--viola solo
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Beka Wilson
#
SheetMusicPlus
We Three Kings of Orient Are--cello solo
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.786764 Composed by John Henry Hopk…
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Cello,Piano - Level 3 - Digital Download SKU: A0.786764 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434649. Published by Beka Wilson (A0.786764). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
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Violoncelle, Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--cello solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--oboe solo
Hautbois, Piano (duo)
Oboe,Piano - Level 3 - Digital Download SKU: A0.786769 Composed by John Henry Hopki…
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Oboe,Piano - Level 3 - Digital Download SKU: A0.786769 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434669. Published by Beka Wilson (A0.786769). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.43 €
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Hautbois, Piano (duo)
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--oboe solo
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Beka Wilson
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SheetMusicPlus
Three Psalms (Movement 3) Psalm 148 Hallelujah!
Violon et Piano
Piano,Violin - Level 4 - Digital Download SKU: A0.818260 By Stephen R Dalrymple. By…
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Piano,Violin - Level 4 - Digital Download SKU: A0.818260 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Classical,Contemporary. 75 pages. Stephen R Dalrymple #3628773. Published by Stephen R Dalrymple (A0.818260). Three Psalms (Movement 3) Psalm 148 Hallelujah! ♫ Tone Poem for Violin and Piano by Stephen R Dalrymple♫ transcribed for solo flute, clarinet, trumpet, euphonium/trombone, & cello ♫ music © 2015 Stephen R Dalrymple♫ recording ℗ 2020 Stephen R Dalrymple♫ presentation © 2023 Stephen R Dalrymple  ♫ sequenced by the composer ♫ The movements of the tone poem Three Psalms are written using contemporary classical music composition techniques.♫ The English text “Praise the LORD†here is actually the English of the Hebrew term “Hallelujah.†Hallelujah is a special, holy word made of 2 parts. The “Hallel†signifies the praise; the Jah (Yah) is part of God’s covenant name Yahweh. This name was and is so holy that it is not uttered by Jews lest they violate the 4th Commandment.♫ There is an interesting sequence in the Psalm. Three times we see a progression of high to low, from the heavens to the earth, from the clouds to the insects, from kings to children. The tone poem begins in the highest range of the piano and solo instrument, and gradually moves down to the lower ones.♫ The 3 themes are set in the Lydian, Dorian, and Phrygian modes.♫ This .pdf file includes 14 score choices • Letter size score for Violin & piano • Letter size solo parts for Flute, Clarinet, Trumpet, Euphonium (or trombone), & Cello • 10 inch tablet size score for violin & piano • 10 inch tablet size score for the same solo parts. ♫ (Tell your computer which pages you want to print. Programs online that will allow you to split pdf files so that you can choose which pages to print.)
$6.50
5.98 €
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Violon et Piano
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Stephen R Dalrymple
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Three Psalms
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Stephen R Dalrymple
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SheetMusicPlus
Out Under the Sky! (WIND QUARTET & PIANO)
Hautbois, Piano (duo)
Small Ensemble Clarinet,Flute,Horn,Oboe,Piano - Level 4 - Digital Download SKU: A0.1082…
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Small Ensemble Clarinet,Flute,Horn,Oboe,Piano - Level 4 - Digital Download SKU: A0.1082112 Composed by Traditional Appalachian Carol AND John H. Hopkins Jr. Arranged by Greg Engell. Christmas,Holiday,Praise & Worship,Sacred,Spiritual. Score and parts. 46 pages. Greg Engell #686251. Published by Greg Engell (A0.1082112). Ring in the Christmas Season with this medley of two sacred classics...Appalachian Carol / We Three Kings. From the opening fanfare to the refelctive melody, your listeners will feel the awe of that first Christmas night. Look up, gaze into the sky...imagine the Star! This set Is arranged for a WIND QUARTET with PIANO. Flute, Oboe, Clarinet, Horn are the main instruments with SUB PARTS for Flute 2 (Oboe), Clarinet 2 (Oboe), Alto Saxophone (Horn) Suitable for concert and worship settings. Rehearsal Piano Track also available. similar versions available for full orchestra (MJ104-SOR) ;ADVANCED and INTERMEDIATE FLUTE SOLO (MJ104-FS): VIOLIN/CELLO DUET (MJ!04-VCS) .Demo Audio is MIDI.
$15.99
14.72 €
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Hautbois, Piano (duo)
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Traditional Appalachian Carol AND John H
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Greg Engell
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Out Under the Sky!
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Greg Engell
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SheetMusicPlus
Out Under the Sky! (Advanced Piano Solo)
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1081526 Composed by Traditional App…
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Piano Solo - Level 5 - Digital Download SKU: A0.1081526 Composed by Traditional Appalachian Carol AND John H. Hopkins Jr. Arranged by Greg Engell. Christmas,Contemporary,Holiday,Sacred,Spiritual. Score. 9 pages. Greg Engell #685649. Published by Greg Engell (A0.1081526). Ring in the Christmas Season with this medley of two sacred classics...Appalachian Carol / We Three Kings. From the opening fanfare to the refelctive melody, your listeners will feel the awe of that first Christmas night. Look up, gaze into the sky...imagine the Star! This set Is arranged for an advanced pianist. Suitable for both concert and worship settings. Similar versions available for full orchestra (MJ-104-SOR) ; Wind Quintet (MJ-104-W5).; Violin/Cello/Piano (MJ-104-VCS); Advanced/Intermediate Flute/Piano(MJ-104-FS); Demo Audio is MIDI.
$7.99
7.35 €
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Piano seul
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Traditional Appalachian Carol AND John H
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Greg Engell
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Wind Quintet (MJ-104-W5).
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Out Under the Sky!
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Greg Engell
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SheetMusicPlus
We Three Kings (Trio for Flute, Violin and Piano)
Small Ensemble Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.1110565 Comp…
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Small Ensemble Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.1110565 Composed by John Henry Hopkins, Jr. and Enrique Granados. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. Score and parts. 20 pages. John A. Dempsey #712866. Published by John A. Dempsey (A0.1110565). In this trio for flute, violin and piano, the traditional, evocative Christmas carol We Three Kings of Orient Are follows a musical path that merges with the wintry road leading to Enrique Granados' delicately beautiful piece Oriental.  A bit of holiday serendipity!  Recommended for Christmas plays, pageants and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events, as a prelude, postlude, an offertory, interlude, Christmas play overture, silent prayer accompaniment and special music.  16 pages of music (that includes separate two-page parts for flute and violin).  Key: A minor   We three kings of Orient are: bearing gifts we traverse afar   Field and fountain, moor and mountain - following yonder star.   O star of wonder, star of night; star with royal beauty bright,   Westward leading, still proceeding, guide us to Thy perfect light.
$11.99
11.03 €
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John Henry Hopkins, Jr
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John A
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We Three Kings
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John A. Dempsey
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.08 €
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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
We Three Kings of Orient Are for String Quartet (or Mixed Quartet or Piano Quintet)
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.530730 Composed by John Henr…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.530730 Composed by John Henry Hopkins. Arranged by Daniel Kelley. Baroque,Christmas,Standards. Score and parts. 19 pages. Last Resort Music Publishing #4887841. Published by Last Resort Music Publishing (A0.530730). An amazing resource for any musician, Music for Four is perfect for String Quartet, Mixed Quartet, Three Violins & Cello, Piano Quartet & More! Comes with score and 6 interchangeable parts - the keyboard/guitar part encompasses parts 2, 3 and 4. Therefore, the arrangements could be played as a piano quartet, or an entire quartet could play with a pianist - as long as Part 1 is being played.The following 6 parts plus score are included in the set:Part 1 Flute or Oboe or ViolinPart 2 Flute or Oboe or ViolinPart 3 ViolaPart 3 ViolinPart 4 Cello or BassoonKeyboard or GuitarScoreDon't miss our other Christmas & Nutcracker arrangements including Dance of the Sugar Plum Fairy, March, Overture & Trepak, Silent Night, The First Noel, Handel's Messiah, We Wish You a Merry Christmas and more! Available on SheetMusicPlus and www.lastresortmusic.comPublished by Last Resort Music Publishing www.lastresortmusic.com
$9.95
9.16 €
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Orchestre de chambre
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John Henry Hopkins
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Daniel Kelley
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Cello, Piano Quartet &
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We Three Kings of Orient Are for String Quartet
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Last Resort Music Publishing
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SheetMusicPlus
Violin Trios for Christmas, Vol. II
Trio à cordes: 3 violins
Composed by Various. Arranged by Cindy Blevins. Christmas. Sheet Music Single. 79 page…
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Composed by Various. Arranged by Cindy Blevins. Christmas. Sheet Music Single. 79 pages. Published by Cindy Blevins
Violin Trios for Christmas, Vol. II contains 12 beautiful arrangements for three violins. You will receive the scores (some people like to see how the parts fit together), the Violin 1 parts, the Violin 2 parts and the Violin 3 parts. You can view some score samples. The audio sample is an excerpt from "Greensleeves." It was digitally produced.<br> <br> The songs included in this book are: Angels We Have Heard On High, Bring a Torch, Jeannette, Isabella, Deck the Halls, God Rest Ye Merry, Gentlemen, Greensleeves, In the Bleak Midwinter, Jesu, Joy of Man's Desiring, Joy to the World, Silent Night, Sussex Carol, The Son of Mary and We Three Kings.<br> <br> For all of my harp music (originals and arrangements for all kinds of harps), harp learning materials, harp with other instruments (clarinet, Native American flute, mandolin, flute), Native American flute learning materials, piano music (originals and arrangements), woodwind ensembles, string ensembles and much more, visit my website.Violin Trios for Christmas, Vol. II contains 12 beautiful arrangements for three violins. You will receive the scores (some people like to see how the parts fit together), the Violin 1 parts, the Violin 2 parts and the Violin 3 parts. You can view some score samples. The audio sample is an excerpt from "Greensleeves." It was digitally produced.<br> <br> The songs included in this book are: Angels We Have Heard On High, Bring a Torch, Jeannette, Isabella, Deck the Halls, God Rest Ye Merry, Gentlemen, Greensleeves, In the Bleak Midwinter, Jesu, Joy of Man's Desiring, Joy to the World, Silent Night, Sussex Carol, The Son of Mary and We Three Kings.<br> <br> For all of my harp music (originals and arrangements for all kinds of harps), harp learning materials, harp with other instruments (clarinet, Native American flute, mandolin, flute), Native American flute learning materials, piano music (originals and arrangements), woodwind ensembles, string ensembles and much more, visit my website.
$18.95
17.44 €
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Trio à cordes: 3 violins
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Various
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Violin Trios for Christmas, Vol. II
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Cindy Blevins
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SheetMusicPlus
Sing We Now Of Christmas (Noël Nouvelet) (Flute or Violin solo and Piano)
Flûte traversière et Piano
Flute,Piano - Level 2 - Digital Download SKU: A0.631162 Composed by Traditional, Jo…
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Flute,Piano - Level 2 - Digital Download SKU: A0.631162 Composed by Traditional, John H. Hopkins Jr. Arranged by Stephen DeCesare. Christian,Christmas,Multicultural,Praise & Worship,Sacred,World. Score and part. 12 pages. Exultet Music #6510425. Published by Exultet Music (A0.631162). The traditional Christmas hymn that highlights several of the most important parts of Christ’s birth; from the rejoicing of heaven and earth (with shepherds and angels), to the fulfilling of prophecies (the coming of the wise men) has been freshly arranged for a Flute or Violin solo with Piano accompaniment. This version also incorporates other Christmas carols within the piece to help tell the story (Patapan, O Come, O Come, Emmanuel and We Three Kings). Accessible and appropriate for any church or concert setting. An accompaniment track is also available.
$4.99
4.59 €
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Flûte traversière et Piano
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Traditional, John H
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Stephen DeCesare
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Sing We Now Of Christmas
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Exultet Music
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SheetMusicPlus
A Very Jiggidy Christmas! - Violin Part
Quatuor à cordes: 2 violons, alto, violoncelle
Piano Quartet Violin - Level 3 - Digital Download SKU: A0.1140829 By Stewart J Wall…
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Piano Quartet Violin - Level 3 - Digital Download SKU: A0.1140829 By Stewart J Wallace. By Stewart J Wallace. Arranged by Stewart J Wallace. Celtic,Chamber,Christian,Christmas,Holiday,Irish. 3 pages. Stewart J Wallace #741084. Published by Stewart J Wallace (A0.1140829). A fun jiggidy medley of traditional Christmas carols (On Christmas Night All Christians Sing, I Saw Three Ships Come Sailing In, We Three Kings Of Orient Are, In Dulci Jubilo) with an original interlude, for Flute, Violin, Cello and Piano. Separate score and parts are available.
$1.99
1.83 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Stewart J Wallace
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Stewart J Wallace
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A Very Jiggidy Christmas! - Violin Part
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Stewart J Wallace
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SheetMusicPlus
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