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PARTITIONS GRATUITES
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
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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
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ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
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UKULELE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
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Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
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difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
PDF/Flash
Non classifié
15857
PIANO & CLAVIERS
Piano seul
10303
Piano Facile
3808
Piano, Voix
3160
Piano, Voix et Guitare
2283
Orgue
1058
Accompagnement Piano
881
Instruments en Do
866
1 Piano, 4 mains
307
Accordéon
176
Piano grosses notes
174
Piano (partie séparée)
164
Piano Trio: piano, violon, violoncelle
136
2 Pianos, 4 mains
101
Orgue, Piano (duo)
37
Piano Quatuor: piano, violon, alto, violoncelle
29
Orgue, Trompette (duo)
26
Piano Quatuor: piano, 2 violons, violoncelle
26
1 Piano, 6 mains
20
Piano Quintette: piano, 2 violons, alto, violoncelle
20
Clavecin
10
Clavier
7
2 Pianos, 8 mains
4
Tous Les Instruments
1
Ensemble de Pianos
1
Orgue et Orchestre
1
Ensemble d'Accordéons
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
1492
Guitare
775
Ligne De Mélodie, (Paroles) et Accords
684
Basse electrique
611
Ukulele
429
Paroles et Accords
381
Guitare (partie séparée)
236
Piano, Guitare (duo)
131
Basse électrique (partie séparée)
126
Dulcimer
116
Banjo
85
2 Guitares (duo)
80
Mandoline
48
4 Guitares (Quatuor)
41
3 Guitares (trio)
23
2 Dulcimers (duo)
14
Ensemble de guitares
9
Dobro
7
2 Ukuleles
5
Guitare Pedal Steel
5
Ukulele Baryton
4
Ensemble de Ukulélés
4
Mandoline, Piano (duo)
2
Mandoline, Guitare (duo)
1
2 Mandolines (duo)
1
Guitare Tab, Voix, Basse, Batterie
1
Guitare, Violon, Violoncelle (trio)
1
Guitare, Quatuor à cordes
1
Instrumentations suivantes
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VOIX
Chorale SATB
5555
Chorale 3 parties
1829
Chorale 2 parties
1042
Chorale TTBB
1018
Chorale Unison
658
Chorale SSAA
476
Voix seule
342
Voix duo, Piano
194
Voix duo
128
Chorale
104
Voix haute
35
Voix Soprano, Piano
28
Voix Tenor, Piano
21
Chorale SSATB
19
Voix moyenne, Piano
18
Voix basse, Piano
17
Voix Alto, Piano
17
Chorale SSAATTBB
15
Voix Baryton, Piano
12
Voix Mezzo-Soprano, Piano
12
Voix, Guitare
11
Voix Tenor
10
Chorale SSATTB
10
Voix Soprano
10
Soli, choeur mixte et accompagnement
7
Voix basse
4
Chorale, Orgue
4
Male Voice
3
Voix haute, Piano
3
Chorale SSAB, Piano
3
Voix Moyenne
2
Chorale SAATB A Cappella
2
Voix Baryton
1
Chorale SSAATB
1
Voix (avec Boîtes d'Accords)
1
Instrumentations suivantes
Retracter
VENTS
Saxophone (partie séparée)
2577
Clarinette (partie séparée)
1380
Flûte traversière et Piano
1150
Clarinette
1013
Quatuor de Saxophones: 4 saxophones
1009
Flûte traversière
926
2 Saxophones (duo)
787
Hautbois, Piano (duo)
786
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
786
Saxophone Alto et Piano
732
Flûte, Hautbois, Clarinette, Basson
729
Clarinette et Piano
655
2 Flûtes traversières (duo)
618
Hautbois (partie séparée)
593
Saxophone Tenor et Piano
591
Saxophone Alto
589
Quintette de Saxophone: 5 saxophones
546
Flute (partie séparée)
542
Quatuor de Clarinettes: 4 clarinettes
538
Saxophone
523
2 Clarinettes (duo)
485
Quatuor de Flûtes : 4 flûtes
268
Flûte, Clarinette (duo)
265
Saxophone Soprano et Piano
243
3 Saxophones (trio)
219
Saxophone, Clarinette (duo)
216
Trio de Flûtes: 3 flûtes
216
3 Clarinettes (trio)
203
Saxophone Tenor
203
Ensemble de Clarinettes
197
2 Hautbois (duo)
167
Ensemble de Flûtes
157
Ensemble de saxophones
157
Clarinette, Violon (duo)
156
Quintette de Clarinettes: 5 clarinettes
153
Saxophone Baryton, Piano
143
Hautbois
125
Clarinette, Trompette (duo)
121
Flûte, Violon
112
Hautbois, Basson (duo)
105
Quintette de Flûte : 5 flûtes
102
Hautbois, Clarinette (duo)
99
Cor anglais, Piano
95
Flûte et Guitare
91
Flûte à bec Soprano
84
Hautbois, Flûte
80
Clarinette et Alto
78
Flûte, Saxophone (duo)
75
Flûte à Bec
74
Flûte, Clarinette et Basson
69
Flûte, Hautbois, Basson
59
2 Flûte à bec (duo)
57
Flûte, Trompette (duo)
56
Flûte, Alto (duo)
55
Quatuor de Flûtes à bec
53
Flûte, Hautbois, Clarinette (trio)
52
Clarinette Basse, Piano
46
Flûte, Violon et Violoncelle
41
Ensemble De Flûte à bec
38
Saxophone Soprano
38
Clarinette, Basson (duo)
38
Harmonica
37
Flûte, Clarinette, Piano (trio)
32
Flûte, Violoncelle
32
Cor Anglais
30
Saxophone Baryton
29
Hautbois, Clarinette, Basson (trio d'anches)
27
Flûte à bec Alto
25
Flûte, Violon, Piano
25
Piccolo
24
Clarinette, Harpe (duo)
23
3 Flûtes à bec (trio)
23
Clarinette Basse
23
Flûte à bec Soprano, Piano
21
Clarinette, Guitare (duo)
21
Flûte, Hautbois (duo)
20
2 Flûtes traversières, Piano
20
Flûte à bec Tenor
19
Clarinette, Violoncelle (duo)
18
2 Saxophones, Piano
16
5 Flûtes à bec
15
2 Clarinettes, Basson
14
Saxophone et Piano
14
Saxophone et Harpe
13
Instruments en Mib
13
Hautbois, Violoncelle
12
Flûte, Basson et Piano
12
2 Clarinettes, Piano
12
Flûte à bec Alto, Piano
12
Flûte, Violoncelle, Piano (trio)
12
Piccolo, Piano
11
Hautbois, Harpe
11
3 Hautbois
11
Flûte irlandaise
11
Clarinette, Violoncelle, Piano (trio)
10
Cor anglais, Guitare (duo)
10
Flûte, Clarinette, Cor, Basson (Quartet)
9
Hautbois, violon (duo)
9
Saxophone et Guitare
9
4 Hautbois
8
Flute, harpe et violon
7
Ensemble à vent
7
Flûte, Alto et Piano
7
Flûte, Clarinette, Violon (trio)
7
Flûte, Trombone (duo)
6
Flûte à bec Alto, Basse continue
6
Flûte, Hautbois, Violon
6
Hautbois, Guitare (duo)
6
Flûte, Harpe et Violoncelle
6
Hautbois et alto (duo)
6
Flûte, Hautbois, Piano (trio)
5
Ocarina
4
Flûte traversière, Orgue (duo)
4
Clarinette, Trombone (duo)
4
Flute, Cor (duo)
4
Saxophone et Orgue
4
2 Hautbois et Basson
3
Flûte, trombone et piano
3
Hautbois, trombone (duo)
3
Flûte traversière, Orchestre
2
2 Flûtes traversières, Guitare
2
Clarinette, Contrebasse (duo)
2
Flûte, Tuba (duo)
2
Clarinette, Tuba
2
Flûte à Bec, Piano
2
Clarinette, Basson, Piano (trio)
2
Flûte, Violon, Violoncelle et Piano
2
Flûte de Pan
1
Clarinette, Orgue
1
Harmonica, Piano
1
Clarinette, Orchestre
1
2 Harmonicas
1
2 Flûtes à bec, Piano
1
Flûte à bec, Guitare (duo)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
2 Hautbois, 2 Cors et 2 Bassons
1
2 Hautbois, Piano
1
Clarinette, Alto et Piano (trio)
1
Flûte et Quatuor à Cordes
1
Hautbois, Violon, Piano
1
Clarinette, trompette et piano
1
Instrumentations suivantes
Retracter
CUIVRES
Trombone (partie séparée)
1619
Trompette (partie séparée)
1435
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
994
Trompette
905
Cor (partie séparée)
700
Trombone
687
Trombone et Piano
685
Trompette, Piano
654
Quatuor de Cuivres : 2 trompettes, trombone, tuba
635
Cor
538
Tuba (partie séparée)
506
Cor et Piano
418
Tuba
276
2 Trompettes (duo)
249
Quatuor de Cuivres: 2 trompettes, Cor, trombone
241
2 Trombones (duo)
224
Tuba et Piano
180
Trompette, Saxophone (duo)
152
Trompette, Trombone (duo)
142
Quatuor de cuivres: 4 trombones
134
Ensemble de Trompettes
129
Quatuor de Cuivres
126
Euphonium, Piano (duo)
122
2 Cors (duo)
100
Ensemble de Trombones
96
Cor anglais, Piano
95
Euphonium
84
2 Euphoniums et 2 Tubas
67
Tuba ou Euphonium ou Saxhorn
66
Quatuor de cuivres: 4 cors
59
Cornet A Pistons
52
Trio de Cuivres
52
2 Tubas (duo)
43
Trompette, Cor (duo)
41
Cor Anglais
30
Cor et Harpe
23
3 Trombones (trio)
22
4 Tubas
21
Ensemble de Cors
20
Bass Clef Instruments
15
2 Trompettes, Clavier (piano ou orgue)
15
Quatuor de cuivres: 4 trompettes
14
Trompette, Harpe
13
Tuba et Orgue
12
Trombone, Orgue
11
Instruments en Sib
11
Trombone basse et Piano
11
Trombone, Tuba (duo)
11
Quatuor de cuivres: 2 trompettes, 2 trombones
11
3 Trompettes (trio)
10
Cor anglais, Guitare (duo)
10
Ensemble de Tubas
8
Euphonium, Tuba (duo)
8
Trompette, Tuba (duo)
8
Trombone, Cor (duo)
7
Trompette, Basson (duo)
6
Trombone basse
6
Trompette et Guitare
5
Cor et Basson (duo)
5
Trompette, Violoncelle (duo)
5
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
5
Trompette, Euphonium (duo)
5
2 Cors, Piano
4
Cor, Tuba (duo)
4
Trompette, violon (duo)
4
3 Cors (trio)
4
2 Euphoniums (duo)
3
Trombone, Violon (duo)
3
Cor, Violoncelle (duo)
2
Euphonium (partie séparée)
2
Trombone et orchestre
2
Cor et Orgue
2
Trompette, Trombone, Piano
2
Clarinette, Cor (duo)
1
Cornet et orchestre
1
2 Trombones, Piano
1
Cornet et Piano
1
3 Tubas (trio)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2640
Violon et Piano
1399
Violon
1159
Violoncelle, Piano
867
Alto, Piano
812
Violoncelle (partie séparée)
724
Violon (partie séparée)
676
Violon, Violoncelle (duo)
670
Alto seul
526
2 Violons (duo)
498
Harpe
495
Trio à Cordes: violon, alto, violoncelle
425
Contrebasse (partie séparée)
423
Alto (partie séparée)
294
2 Violoncelles (duo)
288
Violoncelle
279
Quintette à cordes: 2 violons, alto, violoncelle, basse
269
2 Altos (duo)
245
Violon, Alto (duo)
243
Contre Basse
169
Contrebasse, Piano (duo)
158
Trio à Cordes: 2 violons, violoncelle
145
2 Harpes (duo)
117
Piano Trio: Violon, Alto, Piano
59
Harpe, Flûte (duo)
53
Alto, Violoncelle (duo)
53
4 Violoncelles
49
Harpe, Violon (duo)
45
Trio à Cordes: 3 violoncelles
43
Quatuor à cordes: 4 violons
30
Ensemble de Violons
29
Ensemble d'Altos
28
Trio à cordes
25
2 Contrebasses (duo)
24
Violon, Guitare (duo)
24
Trio à cordes: 3 violins
22
Harpe, Violoncelle (duo)
22
Alto et Harpe
22
Trio à Cordes: 2 violons, alto
19
Harpe (partie séparée)
18
Violoncelle , Guitare (duo)
15
Quintette à cordes: 2 violons, 2 altos, violoncelle
14
Harpe, Voix
14
Violoncelle, Contrebasse (duo)
13
Quatuor à cordes : 4 altos
12
Violon, Basson (duo)
10
Violoncelle, Basse continue
9
Harpe et Piano
9
Violoncelle, Orgue
8
Violon, Clarinette, Piano (trio)
8
2 Violons, Piano
7
Alto, Guitare (duo)
7
Violon, Orgue
7
Trio à cordes: 3 altos
7
Flûte, Contrebasse (duo)
6
Alto et Basson
5
Ensemble de Violoncelles
5
Harpe, Trombone (duo)
4
Violon, Tuba (duo)
4
Violon, Basse continue
4
Alto, Orgue
4
3 Contrebasses
3
2 Altos, Piano
3
Violoncelle, Orchestre
3
4 Contrebasses
3
4 Harpes
2
Harpe et Orgue
1
2 Violoncelles, Piano
1
Autoharp
1
Violon, Trompette et Piano
1
Violon, Violoncelle, Clarinette
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
7987
Orchestre à Cordes
1692
Orchestre
1187
Cloches
836
Ensemble Jazz
803
Ensemble de cuivres
752
Percussion (partie séparée)
740
Batterie
547
Fanfare
427
Batterie (partie séparée)
388
Percussion
301
Orchestre de chambre
218
Jazz combo
199
Ensemble de Percussions
168
Timbales (partie séparée)
157
Marimba
69
Xylophone
60
Timbales
36
Vibraphone
20
Caisse Claire
11
Xylophone, Piano
10
Quintette à Vent
8
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
8
Piano et Orchestre
7
Ensemble d'École
6
Quatuor à Vent : 4 instruments à vents
5
Xylophone (partie séparée)
2
Vibraphone et Marimba
2
Orchestre, Violon
2
Cajon
2
Marimba, Piano (duo)
2
2 Percussions
1
2 Marimbas
1
Quintette de Cuivres: autres combinaisons
1
Instrumentation Flexible
1
Conga
1
Instrumentations suivantes
Retracter
AUTRES
Formation musicale - Solfège
8
Théorie de la musique
2
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Konzert fur Piano und Orchester, Opus 15
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovan…
(+)
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 15. 223 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-117-0). ISBN 9790501791170.The only piano concerto from this influential Italian composer, it is one characterised by the highest ideals of artistic merit. A substantial work in three movements it is a work of broad themes and even broader spirations. Enough to test the mettle of the most experienced and gifted of performers it is a work which will be remembered for its poetic grandeur as much as for its incendiary pianistic qualities.
$31.95
29.82 €
#
Piano et Orchestre
#
Giovanni Sgambati
#
Konzert fur Piano und Orchester, Opus 15
#
Bisel Classics - Digital
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
(+)
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
186.67 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
(+)
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
140 €
#
Piano et Orchestre
#
Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
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Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
116.67 €
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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
#
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.
$100.00
93.34 €
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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
#
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.com
$125.00
116.67 €
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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
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.39 €
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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
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