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You've selected:
Oriental Intermediate
SAXHORN
Piano solo
Sheetmusic to print
9 sheet music found
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1
Tango in A Minor 'Oriental'
Tango in A Minor 'Oriental'
#
Piano solo
#
INTERMEDIATE
#
Tango
#
Asia
#
Lena Orsa
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Tango in A Minor 'Oriental'
#
SheetMusicPlus
Piano Solo - Intermediate - Digital Download Composed by Lena Orsa. Repertoire, Latin, Asian, Wedding, Recital. Individual Part, Sheet Music Single, Solo P...
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Piano Solo - Intermediate - Digital Download Composed by Lena Orsa. Repertoire, Latin, Asian, Wedding, Recital. Individual Part, Sheet Music Single, Solo Part. 6 pages. Published by Elena Borisova
Tango in A Minor 'Oriental' for Piano
$5.99 ≈
$8.07
Oriental Dance
Oriental Dance
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Cyril Scott
#
Oriental Dance
#
Schott Music - Digital
#
SheetMusicPlus
Piano - intermediate to advanced - Digital Download No. 2 from Trois Danses Tristes. Composed by Cyril Scott (1879-1970). This edition: Sheet music. ...
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Piano - intermediate to advanced - Digital Download No. 2 from Trois Danses Tristes. Composed by Cyril Scott (1879-1970). This edition: Sheet music. Downloadable. Op. 74/2. Duration 4 minutes. Schott Music - Digital #Q1550. Published by Schott Music - Digital
Item Number: S9.Q1550
$11.99 ≈
$16.16
Marche Orientale (2014)
Marche Orientale (2014)
#
Piano solo
#
Contemporary
#
Alexander Kaloian
#
Marche Orientale
#
The Cloud Media Group
#
SheetMusicPlus
Piano Solo - Digital Download SKU: A0.976062 Composed by Alexander Kaloian. Contemporary. Score. 8 pages. The Cloud Media Group #34371. Published by The ...
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Piano Solo - Digital Download SKU: A0.976062 Composed by Alexander Kaloian. Contemporary. Score. 8 pages. The Cloud Media Group #34371. Published by The Cloud Media Group (A0.976062). Marche Orientale - a characteristic piece for Piano Solo in which one imagines a march processional taking place in the Orient - a perfect piece for the beginner player trying their first intermediate level work - performance length 3 minutes.
$3.00 ≈
$4.04
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Piano solo
#
INTERMEDIATE/ADVANCED
#
Classical
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
$52.49
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Piano solo
#
INTERMEDIATE/ADVANCED
#
Classical
#
Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
$52.49
We Three Kings
We Three Kings
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Piano solo
#
INTERMEDIATE
#
Christmas
#
John Henry Hopkins Jr
#
Sandy McIntire
#
We Three Kings
#
Sandy McIntire
#
SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.697722 Composed by John Henry Hopkins Jr. Arranged by Sandy McIntire. Christmas,Instructional,Praise & Wo...
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.697722 Composed by John Henry Hopkins Jr. Arranged by Sandy McIntire. Christmas,Instructional,Praise & Worship,Sacred,Traditional. Score. 6 pages. Sandy McIntire #6520787. Published by Sandy McIntire (A0.697722). We Three Kings, also known as The Quest of the Magi, was composed by Hopkins in 1857 for a Christmas pageant in New York City featuring three tenors each representing a king and singing a verse. This arrangement by McIntire as an Intermediate Piano solo emphasizes the oriental origin of the Magi using modal variations of the tune. Although appropriate year round, this carol is particularly appropriate for Epiphany or Theophany which commemorates the visit of the Magi to the Christ Child.
$5.99 ≈
$8.07
Trois Orientales (2014)
Trois Orientales (2014)
#
Piano solo
#
INTERMEDIATE
#
Contemporary
#
Alexander Kaloian
#
Trois Orientales
#
The Cloud Meida Group
#
SheetMusicPlus
Composed by Alexander Kaloian. For Piano Solo. 21st Century. Intermediate. Solo Part. The Cloud Meida Group #201404201538. Published by The Cloud Meida Group ...
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Composed by Alexander Kaloian. For Piano Solo. 21st Century. Intermediate. Solo Part. The Cloud Meida Group #201404201538. Published by The Cloud Meida Group
$5.00 ≈
$6.74
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1
Oriental Intermediate
