Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
2
Digital
Sheet Music
5
Sheet Music
Books
43
Music
Equipment
557
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
21348
PIANO & KEYBOARDS
Piano solo
15266
Piano, Vocal and Guitar
6631
Easy Piano
6227
Piano, Voice
5926
Big Note Piano
3809
Organ
2765
C Instruments
1079
1 Piano, 4 hands
800
Piano Accompaniment
544
Piano (band part)
219
Piano Trio: piano, violin, cello
192
Accordion
147
2 Pianos, 4 hands
125
Keyboard
86
Piano Quartet: piano, 2 violins, cello
65
Melody line, Piano
64
Solo instrument and Organ
60
Organ, Piano (duet)
48
Piano Quartet: piano, violin, viola, cello
43
1 Piano, 6 hands
32
Organ, Trumpet (duet)
32
Accordion, Voice
30
Harpsichord
28
Organ, Voice
16
Piano Quintet: piano, 2 violins, viola, cello
16
2 Pianos, 8 hands
3
All Instruments
2
2 Organs (duet)
1
2 Accordions
1
Piano ensembles
1
Instrumentations suivantes
Retracter
GUITARS
Guitar notes and tablatures
3812
Melody line, (Lyrics) and Chords
2587
Ukulele
1444
Guitar
843
Lyrics and Chords
809
Bass guitar
351
Guitar (band part)
249
Piano, Guitar (duet)
177
Banjo
105
2 Guitars (duet)
79
Guitar Ensemble
57
Dulcimer
47
Mandolin
38
Electric Bass (band part)
36
Ukulele Ensemble
34
4 Guitars (Quartet)
33
3 Guitars (trio)
15
2 Ukuleles
10
2 Dulcimers (duet)
7
Lap Steel Guitar
5
Baritone Ukulele
4
Guitar, Violin, Cello (trio)
2
Guitar, Flute, Clarinet
2
Mandolin, Guitar (duet)
2
Band Scores
2
2 Mandolins (duet)
1
Plectrum Orchestra
1
Guitar Tab, Voice, Bass, Drum
1
3 Dulcimers (trio)
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
6924
Choral 3-part
3030
Choral 2-part
2266
Choral TTBB
1086
Choral Unison
923
Vocal duet, Piano
564
Choral SSAA
539
Choral
500
Vocal duet
235
Voice solo
141
High voice
103
Soprano voice, Piano
66
Tenor voice, Piano
52
Alto voice, Piano
36
Tenor voice
28
Medium voice, Piano
28
Low voice, Piano
27
Choral SSATBB
18
Voice, Guitar
17
Choral SSATB
16
Choral SSAATTBB
14
Choral SSATTB
10
Low voice
10
Mezzo-Soprano voice, Piano
10
Soprano voice
9
Choral SSAB, Piano
7
Soli, Mixted choir and accompaniment
4
Choral SSAB a cappella
3
Choral SAATB A Cappella
2
Choral SATBB
2
Choral SSAATB
2
Choral SATTB
1
Choral SATTBB A Cappella
1
High voice, Piano
1
Instrumentations suivantes
Retracter
WOODWIND
Saxophone (band part)
1884
Flute and Piano
1577
Clarinet
1291
2 Saxophones (duet)
1275
Flute
1195
Saxophone Quartet: 4 saxophones
1170
Oboe, Piano (duet)
1085
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
964
Alto Saxophone
961
Alto Saxophone and Piano
957
Clarinet and Piano
923
Flute, Oboe, Clarinet, Bassoon
923
Tenor Saxophone and Piano
829
Clarinet (band part)
812
2 Flutes (duet)
809
Clarinet Quartet: 4 clarinets
658
2 Clarinets (duet)
644
Oboe (band part)
545
Tenor Saxophone
442
Soprano Saxophone and Piano
409
Flute (band part)
399
3 Saxophones (trio)
372
Saxophone Quintet: 5 Saxophones
365
Flute Quartet: 4 flutes
357
Flute, Clarinet (duet)
322
3 Clarinets (trio)
303
Baritone Saxophone, Piano
225
2 Recorders (duet)
200
Flute Trio: 3 flutes
191
Oboe, Bassoon (duet)
185
2 Oboes (duet)
185
Flute ensemble
174
Clarinet Ensemble
161
Clarinet, Violin (duet)
160
Clarinet Quintet: 5 clarinets
155
English horn, Piano
153
Saxophone, Clarinet (duet)
140
Oboe, Clarinet (duet)
131
Saxophone ensemble
126
Oboe
112
Flute, Clarinet and Bassoon.
106
Flute, Violin
99
Clarinet, Trumpet (duet)
95
Flute, Oboe, Clarinet (trio)
91
Clarinet, Bassoon (duet)
84
Flute, Violoncello
77
Flute, Viola (duet)
75
Flute and Guitar
74
Descant (Soprano) Recorder
73
Bass Clarinet, Piano
71
Clarinet and Viola
70
Flute, Oboe, Bassoon
69
Oboe, Flute
68
Harmonica
67
Oboe, Clarinet, Bassoon (trio)
64
Flute, Saxophone (duet)
63
Flute Quintet : 5 flutes
56
Soprano Saxophone
54
Recorder
52
Baritone Saxophone
52
Flute, Oboe (duet)
50
Flute, Violin and Violoncello
49
Eb Instruments
47
Recorder Quartet
45
Oboe, Cello
43
Flute, Clarinet, Piano (trio)
43
Flute, Trumpet (duet)
42
Clarinet, Harp (duet)
42
Clarinet, Cello (duet)
40
English Horn
38
2 Flutes, Piano
36
2 Clarinets, Piano
35
Treble (Alto) Recorder
35
Flute, Violin, Piano
35
Flute, Trombone (duet)
31
Flute, Bassoon, and Piano
30
Flute, Cello, Piano (trio)
30
Oboe, Harp
27
Oboe, Violin (duet)
26
Piccolo
26
2 Saxophones, Piano
24
Saxophone and Harp
24
Clarinet, Cello, Piano (trio)
23
Oboe and viola (duet)
22
3 Oboes
21
Recorder Ensemble
21
Piccolo, Piano
19
Tenor Recorder
18
Clarinet, Tuba
18
Oboe, Trombone (duet)
18
Bass Clarinet
17
Clarinet, Trombone (duet)
17
Clarinet, Guitar (duet)
17
Saxophone and Organ
16
Ocarina
16
Treble (Alto) Recorder, Piano
16
Flute, Violin, Violoncello and Piano
15
Flute, Viola and Piano
15
Flute, Tuba (duet)
14
Descent (Soprano) Recorder, Piano
13
2 Clarinets, Bassoon
13
Flute, Oboe, Piano (trio)
13
Flute, trombone and piano
13
3 Recorders (trio)
12
Saxophone and Guitar
9
Clarinette, Viola and Piano (trio)
9
Oboe, Guitar (duet)
8
4 Oboes
8
5 Recorders
8
Recorder, Piano
8
Clarinet, Bassoon, Piano (trio)
8
Clarinet, trumpet and piano
8
Saxophone, Tuba (duet)
8
Flute, Oboe, Violin
7
Saxophone, Bassoon (duet)
6
Saxophone
5
Flute, French horn (duet)
4
Harmonica, Piano
4
Saxophone and cello
4
Flute, Clarinet, Violin (trio)
4
Wind ensemble
4
Flute, Organ (duet)
4
Flute, Cello, Guitar
3
Flute and Strings Trio
3
Pennywhistle
3
Clarinet, Organ
3
2 Oboes and Basson
3
Flute, Harp and Cello
3
Clarinet, Double bass (duet)
3
Oboe ensemble
2
English horn, Harp (duet)
2
Flute, Clarinet, Horn and Bassoon (Quartet)
2
Flute, harp and violin
2
Oboe, Bassoon and Piano
2
2 English horns and Pianoforte
2
Bagpipe
2
2 Recorders, Piano
2
Saxophone and Piano
2
Pan Flute
2
Oboe, Violin, Piano
2
2 Oboes, Piano
1
Flute, Viola and harp
1
Clarinet, Orchestra
1
Flute, Viola and Cello
1
Flute and String Quartet
1
2 Flutes and Harp
1
Clarinet Quartet: Clarinet, Violin, Viola, Cello
1
Clarinet Quintet: Clarinet, String Quartet
1
Saxophone, Violin (duet)
1
Oboe, Violin, Viola and Violoncello (Quartet)
1
Flute, Guitar, Piano
1
2 Flutes and Guitar
1
English Horn, Guitar (duet)
1
Recorder, Guitar (duet)
1
Oboe, Clarinet, Bassoon and Piano
1
Instrumentations suivantes
Retracter
WOODBRASS
Trumpet
1297
Trumpet (band part)
1111
Brass Quintet: 2 trumpets, horn, trombone, tuba
1042
Trombone (band part)
990
Trumpet, Piano
869
Trombone
832
French horn
781
Trombone and Piano
770
Brass quartet : 2 trumpets, trombone, tuba
637
French Horn and Piano
490
2 Trumpets (duet)
418
French horn (band part)
397
2 Trombones (duet)
389
Brass Quartet
338
Brass Quartet: 2 trumpets, horn, trombone
287
Tuba and Piano
278
Trumpet, Trombone (duet)
267
Tuba
261
Tuba (band part)
259
2 French horns (duet)
191
English horn, Piano
153
Brass Quartet: 4 trombones
152
Trumpet, Saxophone (duet)
127
Bass Clef Instruments
114
Brass Trio
107
Trumpet, Horn (duert)
100
Euphonium, Piano (duet)
100
Trumpet, Tuba (duet)
89
Brass Quartet: 4 horns
81
2 Tubas (duet)
78
Bb Instruments
67
Trombone, Tuba (duet)
64
2 Euphoniums and 2 Tubas
49
Trombone ensemble
43
English Horn
38
Brass Quartet: 4 trumpets
36
Euphonium
34
3 Trumpets (trio)
34
2 Euphoniums (duet)
30
Trumpet ensemble
27
French Horn and Harp
27
Trombone, Violin (duet)
27
3 Trombones (trio)
24
Trumpet, Harp
22
Tuba and Organ
22
Horn, Tuba (duet)
20
Trombone, Organ
18
4 Tubas
18
Horn Ensemble
15
2 Trumpets, Keyboard (piano or organ)
15
Brass Quartet: 2 trumpets, 2 trombones
15
Euphonium, Tuba (duet)
14
3 French horns (trio)
13
Trombone, Horn (duet)
13
Tuba or Euphonium or Saxhorn
12
Trumpet, Cello (duet)
11
Horn, Cello (duet)
10
Trumpet, Bassoon (duet)
9
Trumpet, Trombone, Piano
8
Clarinet, Horn (duet)
8
French horn and Basson (duet)
6
Bass Trombone and Piano
6
Horn and Organ
6
4 Euphoniums
4
Cornet
4
Bass Trombone
4
Trombone, Viola (duet)
3
F Instruments
3
Brass Quintet: 2 trumpets, horn, 2 trombones
3
3 Tubas (trio)
3
Trumpet, Cello, Piano
3
English horn, Harp (duet)
2
2 French horns, Piano
2
2 English horns and Pianoforte
2
Brass quartet : Horn, Trombone, Tuba, B-Flat Trumpet
2
Cornet and Piano
1
Trumpet and Guitar
1
Trumpet, violin (duet)
1
Horn, Trumpet, Trombone (trio)
1
English Horn, Guitar (duet)
1
Tuba ensemble
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
2997
Violin and Piano
2044
Violin
1514
Cello, Piano
1274
Viola, Piano
1162
Viola
989
Cello (band part)
885
2 Violins (duet)
824
Violin, Cello (duet)
796
Violin (band part)
768
Harp
750
Cello
563
2 Cellos (duet)
554
String Trio: violin, viola, cello
522
Doublebass (band part)
508
Violin, Viola (duet)
413
Viola (band part)
411
2 Violas (duet)
380
String Quintet: 2 violins, viola, cello, bass
264
Double Bass
256
Double bass, Piano (duet)
244
Viola, Cello (duet)
210
2 Harps (duet)
203
String Trio: 2 violins, cello
176
Piano Trio: Violin, Viola, Piano
102
String Trio: 3 violins
81
4 Cellos
79
String Trio: 3 cellos
71
Harp, Flute (duet)
69
2 Double basses (duet)
62
Harp, Violin (duet)
61
String trio
56
String quartet: 4 violins
50
Harp, Cello (duet)
46
Harp (band part)
43
String Trio: 3 violas
37
Violin, Bassoon (duet)
36
Viola and Harp
33
Cello, String Bass (duet)
32
Violin, Guitar (duet)
30
String Quartet : 4 violas
30
String Trio: 2 violins, viola
29
Cello, Guitar (duet)
27
2 Violins, Piano
25
Violin, Tuba (duet)
22
Harp, Voice
16
Viola and Bassoon
14
Cello, Organ
13
Violin, Clarinet, Piano (trio)
12
2 Cellos, Piano
11
Flute, Doublebass (duet)
9
Violin ensemble
9
Violin, Trumpet and Piano
5
Viola, Guitar (duet)
5
String Quintet: 2 violins, 2 violas, cello
5
4 Harps
5
Violin, Organ
5
3 Harps
4
Viola ensemble
4
2 Violas, Piano
4
Harp, Trombone (duet)
3
Cello Ensemble
3
Viola, Organ
3
Harp and Piano
3
Harp, Orchestra
2
String Quintet: 2 violins, viola, 2 cellos
2
Harp, Violin, Violoncello
2
Harp and mandolin
1
Viola and orchestra
1
Violin, Cello, Clarinet
1
Cello, Orchestra
1
4 Double Basses
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
5909
Orchestra
1718
String Orchestra
1306
Jazz Ensemble
932
Handbells
804
Percussion (band part)
628
Brass ensemble
491
Drum (band part)
298
Chamber Orchestra
254
Marching band
216
Drums
201
Jazz combo
168
Percussion Ensemble
128
Percussion
99
Timpani (band part)
58
Marimba
56
Timpani
29
Xylophone
23
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
18
Xylophone, Piano
14
Vibraphone
13
Vibraphone (band part)
5
Brass Quintet: other combinaisons
5
Piano and Orchestra
5
Woodwind Quintet
4
Snare drums
4
Big band
4
Woodwind Quartet: any 4 woodwinds
3
Flexible Instrumentation
2
2 Marimbas
1
Voice Mezzo-Soprano, Orchestra
1
3 Marimbas
1
Vibraphone and Marimba
1
Conga
1
Bongos
1
Instrumentations suivantes
Retracter
OTHERS
Musical course - Solfege
6
Music Theory
1
You've selected:
Day by Day
Piano and Orchestra
Sheetmusic to print
5 sheet music found
<
1
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
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
22.1 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
O Holy Night- Arranged for Piano and String orchestra
Piano and Orchestra
Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contem…
(+)
Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contemporary Christian, Spiritual, Sacred, Christmas. Score, Set of Parts. 22 pages. Published by Ognyan Petrov (S0.88877). - Score,Set of Parts - Christian,Contemporary Christian,Spiritual,Sacred,Christmas - Ognyan Petrov
This is an arrangement especially made for 2015 Holiday Contest.Very melodical line in Piano part, combined with lyric strings accompaniment.
$19.50
17.97 €
#
Piano and Orchestra
#
Adolphe-Charles Adam
#
O Holy Night- Arranged for Piano and String orchestra
#
Ognyan Petrov
#
SheetMusicPlus
Klavierkonzert in C-Dur, Opus 7
Piano and Orchestra
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedr…
(+)
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedrich Kuhlau. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 7. 191 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-055-5). ISBN 9790501790555.Exhibiting a natural talent for pastiche and an almost overwhelming abundance of original musical thought the Piano Concerto in C opus 7 took Beethoven's famous Piano Concerto in C opus 15 as its inspiration. Premiere performances of the concerto in Copenhagen 1811, secured a future for the German born composer as a Danish Romantic icon for future generations and this concerto is part of his legacy: as fresh and serene today as the day of its first performance.
$26.95
24.83 €
#
Piano and Orchestra
#
Friedrich Kuhlau
#
Klavierkonzert in C-Dur, Opus 7
#
Bisel Classics - Digital
#
SheetMusicPlus
Good Friday
Piano and Orchestra
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contempo…
(+)
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian. Early Intermediate. Sheet Music Single. Published by Exultet Music
$3.99
3.68 €
#
Piano and Orchestra
#
Stephen DeCesare
#
Good Friday
#
Exultet Music
#
SheetMusicPlus
<
1
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version