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You've selected:
Georg Oriental
Sheetmusic to print
9 sheet music found
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1
Granados "Oriental" arr. for Cello & Guitar
Granados "Oriental" arr. for Cello & Guitar
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Cello, Guitar (duet)
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INTERMEDIATE
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Classical
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Enrique Granados
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Georg Mertens
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Granados "Oriental" arr. for C
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Georg Mertens
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SheetMusicPlus
Cello & Guitar Duo - Intermediate - Digital Download Composed by Enrique Granados (1867-1916). Arranged by Georg Mertens. Romantic Period, Impres...
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Cello & Guitar Duo - Intermediate - Digital Download Composed by Enrique Granados (1867-1916). Arranged by Georg Mertens. Romantic Period, Impressionistic, Repertoire, World, European. Individual Part, Score. 8 pages. Published by Georg Mertens
"Oriental" No 2 from Danzas Espanolas. One of the most haunting and beautiful melodies ever written.
In this arrangement I kept the phrasing as close as possible to the original piano phrasing.
Also I maintained the transparency of the 2 melodies, not adding extra bass notes and harmonies.
Bowings and fingerings are chosen to be convenient and effective. All more difficult passages have string and fingering instructions.
$5.99 ≈
£4.51
Past 3 O'Clock - Oriental Tea Carol - Piano Duet
Past 3 O'Clock - Oriental Tea Carol - Piano Duet
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1 Piano, 4 hands
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INTERMEDIATE
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Sacred music
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Traditional / George Ratcliffe
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Anne L Christopherson GRSM ARC
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Past 3 O'Clock - Oriental Tea
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Music-Scores.com
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.721639 Composed by Traditional / George Ratcliffe Woodward. Arranged by An...
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Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.721639 Composed by Traditional / George Ratcliffe Woodward. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Praise & Worship,Sacred. Score and parts. 4 pages. Music-Scores.com #4855235. Published by Music-Scores.com (A0.721639). Oriental Tea Carol - or Past Three O'Clock on black notes. Knowing that this mysterious carol contains no white notes, the 5-sharp key signature is very easy to work out. Piano Duet for 4 hands.Duration: under 1 minute.Arranged by Anne Christopherson at www.music-scores.com
$5.95 ≈
£4.48
"My CELLO METHOD" Volume 5 - Mastering positions 5 - 7
"My CELLO METHOD" Volume 5 - Mastering positions 5 - 7
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2 Cellos (duet)
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INTERMEDIATE
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Classical
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Camille Saint-Saens, E
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Georg Mertens
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"My CELLO METHOD" Volume 5 - M
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Georg Mertens
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SheetMusicPlus
Cello Duet Cello - Level 3 - Digital Download SKU: A0.1080764 Composed by Camille Saint-Saens, E. Galliard, Frederic Chopin, Georg Mertens, Johann Sebast...
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Cello Duet Cello - Level 3 - Digital Download SKU: A0.1080764 Composed by Camille Saint-Saens, E. Galliard, Frederic Chopin, Georg Mertens, Johann Sebastian Bach, Ludwig van Beethoven, Ottakar Sevcik, and Sebastian Lee. Arranged by Georg Mertens. Baroque,Classical,Contemporary,Instructional,Romantic Period. Score. 35 pages. Georg Mertens #685003. Published by Georg Mertens (A0.1080764). In Volume 5 of My CELLO METHOD - Mastering Positions 5 - 7, the cello player will be guided by photos and pinpointed exercises by Sevcik, Mertens & Lee in preparation to pieces in the higher range: favourites of my students for this level. All pieces have been arranged as cello duos - except the solo piece Oriental, the movements of the Bach solo Suites and the position exercises.Here is the list of content:No. 118    Exercise for Position 1 - 7 on A string              No. 119    2 Position Studies for all 4 strings by O. Sevcik                 No. 120   3 octaves Scale in C major      No. 121    S. Lee - Study No 5                          No. 122    Catalan Traditional - Song of the Birds                  No. 123    E. Galliard - Sarabande from Sonata E minor            No. 124    J.S. Bach - Bourree's of Cello Suite No 3 (solo)                  No. 125    J.S. Bach - Sarabande of Cello Suite 5 (solo)        No. 126    L.v. Beethoven - Sonatina                               No. 127    F. Chopin - Largo from Cello Sonata op. 65               No. 128    P.I. Tchaikovsky - Valse sentimentale                   No. 129    G.M. - Prelude 4 Oriental  from 5 Preludes for the Love of the  Lower Strings (solo)No. 130   C. Saint-Saens - The Swan    -     Major scale patterns - 3 octavesGuide lines of the method are: enjoyable, systematic - step by step, well explained.  The 6 Volumes of My CELLO METHOD: from Twinkle, twinkle to Haydn Cello Concerto!Volume 1   - 1st Position unextendedVolume 2   - The Extensions in 1st Position ( b & # )Volume 3   - Half, 2nd, 3rd & 4th Positions Volume 4   - Gems from the vast repertoire of cello music within Positions 1-4Volume 5  - Mastering Positions 5 - 7                  Volume 6  - The Thumb Position & Treble ClefHere is a link to the Duo recordings to My CELLO METHOD: https://www.youtube.com/playlist/PLa4x_CVYDVRXQT9KB0v_cJF353gc1yHMf
$13.99 ≈
£10.52
In The Steppes Of Central Asia
In The Steppes Of Central Asia
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Alexander Borodin
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George Willson
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In The Steppes Of Central Asia
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George Willson
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SheetMusicPlus
Brass Ensemble Trombone - Level 3 - Digital Download SKU: A0.927177 Composed by Alexander Borodin. Arranged by George Willson. Concert,Romantic Period. S...
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Brass Ensemble Trombone - Level 3 - Digital Download SKU: A0.927177 Composed by Alexander Borodin. Arranged by George Willson. Concert,Romantic Period. Score and parts. 16 pages. George Willson #4608717. Published by George Willson (A0.927177). The composer wrote the following about the piece: In the silence of the monotonous steppes of Central Asia is heard the unfamiliar sound of a peaceful Russian song. From the distance we hear the approach of horses and camels and the bizarre and melancholy notes of an oriental melody. A caravan approaches, escorted by Russian soldiers, and continues safely on its way through the immense desert. It disappears slowly. The notes of the Russian and Asiatic melodies join in a common harmony, which dies away as the caravan disappears in the distance.George Willson is a trombone player and has been an performer, composer, and conductor for thirty years in various mediums and ensembles.Mp3 provided is a midi extracted from the composition program.
$9.99 ≈
£7.52
Ombra mai fu (Largo from "Xerxes") for Voice and Brass Band
Ombra mai fu (Largo from "Xerxes") for Voice and Brass Band
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Rita Arendz
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Rita Arendz
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Ombra mai fu
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Rita Arendz
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1038374 By Rita Arendz. By Georg Frideric Handel. Arranged by Rita Arendz. Contest,Festival,Instructional,Opera,Romantic Period,Wedding. Brass Band. 27 pages. Rita Arendz #643324. Published by Rita Arendz (A0.1038374). For Vocal and Brass Band. Ombra mai fu, also known as Largo from Xerxes is one of Handel's best-known arias despite the opera Serse (1738) only surviving 5 performances. As the opening aria to the opera, its intent was to be a love song. The original lyrics translate from Italian to Never was a shade. It references the Platanus orientalis or Plane Tree and what lovely shade it provides. The Plane Tree is related to the American Sycamore tree (Platanus occidentalis). On Christmas eve 1906, Canadian inventor and radio pioneer, Reginald Fessenden broadcast the first AM radio program, using this aria as its opener; hence, the association with classical Christmas playlists. The range of voice suits the mezzo-soprano, the contralto, or the countertenor. The music is suitable for concerts. Its love theme lends well to weddings, and its plaintive melody is suitable for funerals. Duration ~2:30. 27 pages.
$42.99 ≈
£32.34
Past 3 O'Clock - Easy Piano
Past 3 O'Clock - Easy Piano
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Easy Piano
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EASY
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Sacred music
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Traditional / George Ratcliffe
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Anne L Christopherson GRSM ARC
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Past 3 O'Clock - Easy Piano
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Music-Scores.com
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SheetMusicPlus
Easy Piano - Level 2 - Digital Download SKU: A0.721702 Composed by Traditional / George Ratcliffe Woodward. Arranged by Anne L Christopherson GRSM ARCM. ...
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Easy Piano - Level 2 - Digital Download SKU: A0.721702 Composed by Traditional / George Ratcliffe Woodward. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Praise & Worship,Sacred. Score. 1 pages. Music-Scores.com #4969857. Published by Music-Scores.com (A0.721702). Oriental Tea Carol: Past 3 oclock: knowing that this mysterious carol only contains black notes, the 5-sharp key signature is very easy to work out. Easy Piano with note names.Arranged by Anne L Christopherson GRSM ARCM at https://www.music-scores.com
$3.99 ≈
£3.00
Let All the World Sing Joy!
Let All the World Sing Joy!
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Choral SATB
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INTERMEDIATE
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Classical
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George Frideric Handel
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Linda Scholes
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Let All the World Sing Joy!
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Linda Scholes Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.800951 Composed by George Frideric Handel. Arranged by Linda Scholes. A Cappella,Celtic,Christma...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.800951 Composed by George Frideric Handel. Arranged by Linda Scholes. A Cappella,Celtic,Christmas,Irish,Latin,Multicultural,World. Octavo. 14 pages. Linda Scholes Music #4303947. Published by Linda Scholes Music (A0.800951). An exuberant, creative arrangement of Joy to the World, set in an international flair, with each verse being in a different ethnic style: Celtic, Oriental, Latin-American, and Gospel, with a fun a cappella interlude. Great for school and church choirs! Choirs and audiences alike will love this one! .
$1.99 ≈
£1.50
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
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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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 ≈
£29.30
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
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
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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 ≈
£29.30
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