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TRI ET FILTRES
Tri et filtres :
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8347
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3612
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59
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50
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45
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25
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24
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7
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10548
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6924
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Musica ricercata
Piano Facile
Piano - difficult - Digital Download For pianoforte. Composed by Gyorgy Ligeti (1923-…
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Piano - difficult - Digital Download For pianoforte. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Zeitgenossische Musik, Ungarn, Piano. Downloadable. Duration 23 minutes. Schott Music - Digital #Q16144. Published by Schott Music - Digital
An irresistible elemental power emanates from the eleven pieces of the Musica Ricercata composed between 1951 and 1953. The early piano work by the famous Hungarian Gyorgy Ligeti arose from experiments with minimalist structures of rhythm and sound in order to build a New Music from nothing, so to speak, according to Ligeti himself. The effect that he achieves with just a few tones is inspiring. In the first piece, he uses one tone to which is added another tone at the end. In the second piece, the music consists of three tones, in the third of four, up to twelve tones in the eleventh piece. The second piece of the Music Ricercata served as soundtrack for the film Eyes Wide Shut by Stanley Kubrick.An irresistible elemental power emanates from the eleven pieces of the Musica Ricercata composed between 1951 and 1953. The early piano work by the famous Hungarian Gyorgy Ligeti arose from experiments with minimalist structures of rhythm and sound in order to build a New Music from nothing, so to speak, according to Ligeti himself. The effect that he achieves with just a few tones is inspiring. In the first piece, he uses one tone to which is added another tone at the end. In the second piece, the music consists of three tones, in the third of four, up to twelve tones in the eleventh piece. The second piece of the Music Ricercata served as soundtrack for the film Eyes Wide Shut by Stanley Kubrick.
$17.99
16.38 €
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Piano Facile
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Gyorgy Ligeti
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Musica ricercata
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Schott Music - Digital
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SheetMusicPlus
Teddy Music
1 Piano, 4 mains
Piano (4 hands) - easy - Digital Download 10 Easy Pieces. Composed by Hermann Regner …
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Piano (4 hands) - easy - Digital Download 10 Easy Pieces. Composed by Hermann Regner (1928-). This edition: performance score. Downloadable. Duration 10 minutes. Schott Music - Digital #Q7193. Published by Schott Music - Digital
Hermann Regner, one of the most successful music teachers of the 20th century and pupil of Carl Orff, was dedicated to the fusion of instrumental education and contemporary music. Thanks to his practical compositions, he helped children, young people and amateur musicians gain access to modern music. 'Teddy Music' is a collection of 10 easy pieces for piano duet. A teddy bear leads the musician through the colourful collection in amusing illustrations. The pieces have been written for pupils and teacher, with the pupil's part being very easy and designed for the first or second year. The teddy bear can do a lot of things: he dances, swings, rides, dreams, tells stories and occasionally gets annoyed. A cheerful collection for the first steps in piano duet playing.Hermann Regner, one of the most successful music teachers of the 20th century and pupil of Carl Orff, was dedicated to the fusion of instrumental education and contemporary music. Thanks to his practical compositions, he helped children, young people and amateur musicians gain access to modern music. 'Teddy Music' is a collection of 10 easy pieces for piano duet. A teddy bear leads the musician through the colourful collection in amusing illustrations. The pieces have been written for pupils and teacher, with the pupil's part being very easy and designed for the first or second year. The teddy bear can do a lot of things: he dances, swings, rides, dreams, tells stories and occasionally gets annoyed. A cheerful collection for the first steps in piano duet playing.
$13.99
12.74 €
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1 Piano, 4 mains
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Hermann Regner
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Teddy Music
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Schott Music - Digital
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SheetMusicPlus
Classical Music for Children
Flûte traversière et Piano
Flute and piano - very easy to easy - Digital Download 26 Easy Pieces. This edition: …
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Flute and piano - very easy to easy - Digital Download 26 Easy Pieces. This edition: Sheet music. Flote, Klassik, Flute. Classical Music for Children. Downloadable. Schott Music - Digital #Q20865. Published by Schott Music - Digital
The volume 'Klassik fur Kinder' provides young flute players with a selection of 26 easy works for lessons and concerts. The selected pieces range from the Baroque era via the Classical period to the Romantic era. Apart from original pieces, the editors have deliberately included easy arrangements of well-known masterpieces as well in order to facilitate access to the classical concert literature.<br> The pitch range found in the pieces (not higher than E''') can be easily mastered by pupils from the second year of tuition. The collection is particularly suitable to work on various aspects of interpretation and musical performance.<br> The enclosed CD contains all pieces as a complete version (for listening) and as pure piano accompaniment (for playing along).<br> The 'Klassik fur Kinder' series is also available for violin, clarinet, piano, guitar, and most recently for violoncello as well.The volume 'Klassik fur Kinder' provides young flute players with a selection of 26 easy works for lessons and concerts. The selected pieces range from the Baroque era via the Classical period to the Romantic era. Apart from original pieces, the editors have deliberately included easy arrangements of well-known masterpieces as well in order to facilitate access to the classical concert literature.<br> The pitch range found in the pieces (not higher than E''') can be easily mastered by pupils from the second year of tuition. The collection is particularly suitable to work on various aspects of interpretation and musical performance.<br> The enclosed CD contains all pieces as a complete version (for listening) and as pure piano accompaniment (for playing along).<br> The 'Klassik fur Kinder' series is also available for violin, clarinet, piano, guitar, and most recently for violoncello as well.
$12.99
11.83 €
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Flûte traversière et Piano
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Classical Music for Children
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Schott Music - Digital
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SheetMusicPlus
my first elements of music theory
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.1032873 Composed by Laura Ranieri. …
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Piano Solo - Level 1 - Digital Download SKU: A0.1032873 Composed by Laura Ranieri. Instructional. Score. 35 pages. Laura Ranieri #6332607. Published by Laura Ranieri (A0.1032873). Questo libro porta i bambini in modo semplice e immediato ai primi concetti fondamentali della teoria musicale. I giovanissimi studenti saranno gradualmente guidati nel mondo musicale in modo giocoso, scientificamente metodico e coinvolgente attraverso spiegazioni ed esercizi. Altri libri integrano questo affascinante percorso didattico e artistico: Il mio primo libro di appunti e Il libro dei giochi musicali DESTINATARI I miei primi elementi di teoria musicale sono ideali per i bambini dai 5 ai 7 anni. concepito per i bambini (dai 4 anni) per essere aiutati sia dall'insegnante di musica che da genitori non necessariamente musicisti.
$5.97
5.44 €
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Piano seul
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Laura Ranieri
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my first elements of music theory
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Laura Ranieri
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SheetMusicPlus
Classical Music for Children
Violon et Piano
Violin and piano - very easy to easy - Digital Download 25 Easy Pieces. This edition: …
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Violin and piano - very easy to easy - Digital Download 25 Easy Pieces. This edition: Sheet music. Barock, Klassik, Romantik. Classical Music for Children. Downloadable. Schott Music - Digital #Q25349. Published by Schott Music - Digital
Item Number: S9.Q25349<br> <br> 25 easy pieces from the Baroque, Classical and Romantic eras, playable in the first three finger patterns in the first position, for violin pupils from the second year of learning. Apart from lesser known works, this edition also contains many popular pieces, such as themes from Vivaldi's Four Seasons, Handel's Fireworks Music and Water Music, Mozart's Magic Flute or Beethoven's Symphony No. 9. This volume's intention is to grant access to classical masterpieces of concert literature with the help of such easy arrangements and spread the joy of classical music. A treasure trove for auditions at schools and music schools.Item Number: S9.Q25349<br> <br> 25 easy pieces from the Baroque, Classical and Romantic eras, playable in the first three finger patterns in the first position, for violin pupils from the second year of learning. Apart from lesser known works, this edition also contains many popular pieces, such as themes from Vivaldi's Four Seasons, Handel's Fireworks Music and Water Music, Mozart's Magic Flute or Beethoven's Symphony No. 9. This volume's intention is to grant access to classical masterpieces of concert literature with the help of such easy arrangements and spread the joy of classical music. A treasure trove for auditions at schools and music schools.
$11.99
10.92 €
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Violon et Piano
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Classical Music for Children
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Schott Music - Digital
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SheetMusicPlus
Joy of Music - Discoveries from the Schott Archives
Violoncelle, Piano
Cello and piano - intermediate to advanced - Digital Download Virtuoso and Entertaini…
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Cello and piano - intermediate to advanced - Digital Download Virtuoso and Entertaining Pieces for Cello and Piano. Composed by Various. Edited by Beverley Ellis and Rainer Mohrs. This edition: Sheet music. Virtuoso instrumental music, Violoncello, Cello, Anthology. Copyright 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 161 pages. Schott Music - Digital #Q53332. Published by Schott Music - Digital
English - German.<br> <br> To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced cellists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.English - German.<br> <br> To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced cellists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.
$23.99
21.84 €
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Violoncelle, Piano
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Various
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Co
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Joy of Music - Discoveries from the Schott Archives
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Schott Music - Digital
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SheetMusicPlus
Romantic Piano Music
1 Piano, 4 mains
Piano (4 hands) - intermediate - Digital Download 23 Pieces for Piano Duet. This ed…
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Piano (4 hands) - intermediate - Digital Download 23 Pieces for Piano Duet. This edition: Sheet music. Klavier, Piano, Sammlung. Schott Piano Classics. Downloadable. Op. 1. Schott Music - Digital #Q18589. Published by Schott Music - Digital
The two-volume collection 'Romantic Piano Music' draws from the vast repertoire of 19th-century music for piano duet. The 23 pieces include real 'gems' - unjustly forgotten or lesser known works which shall be brought to mind again with these two volumes. As a consequence, rarely played works of great composers such as Schubert, Mendelssohn, Dvorak, Schumann, Brahms, Faure, and Moszkowski are next to hitherto undiscovered compositions by Johann Ludwig Bohner, Heinrich Hofmann, Friedrich Gernsheim or Julius Rontgen, among others. A creative collection to add to the piano duet repertoire.The two-volume collection 'Romantic Piano Music' draws from the vast repertoire of 19th-century music for piano duet. The 23 pieces include real 'gems' - unjustly forgotten or lesser known works which shall be brought to mind again with these two volumes. As a consequence, rarely played works of great composers such as Schubert, Mendelssohn, Dvorak, Schumann, Brahms, Faure, and Moszkowski are next to hitherto undiscovered compositions by Johann Ludwig Bohner, Heinrich Hofmann, Friedrich Gernsheim or Julius Rontgen, among others. A creative collection to add to the piano duet repertoire.
$16.99
15.47 €
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1 Piano, 4 mains
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Romantic Piano Music
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Schott Music - Digital
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SheetMusicPlus
Romantic Piano Music
1 Piano, 4 mains
Piano (4 hands) - intermediate - Digital Download 23 Pieces for Piano Duet. This ed…
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Piano (4 hands) - intermediate - Digital Download 23 Pieces for Piano Duet. This edition: Sheet music. Klavier, Piano, Sammlung. Schott Piano Classics. Downloadable. Op. 2. Schott Music - Digital #Q18590. Published by Schott Music - Digital
The two-volume collection .'Romantic Piano Music' draws from the vast repertoire of 19th-century music for piano duet. The 23 pieces include real 'gems' - unjustly forgotten or lesser known works which shall be brought to mind again with these two volumes. As a consequence, rarely played works of great composers such as Schubert, Mendelssohn, Dvorak, Schumann, Brahms, Faure, and Moszkowski are next to hitherto undiscovered compositions by Johann Ludwig Bohner, Heinrich Hofmann, Friedrich Gernsheim or Julius Rontgen, among others. A creative collection to add to the piano duet repertoire.The two-volume collection .'Romantic Piano Music' draws from the vast repertoire of 19th-century music for piano duet. The 23 pieces include real 'gems' - unjustly forgotten or lesser known works which shall be brought to mind again with these two volumes. As a consequence, rarely played works of great composers such as Schubert, Mendelssohn, Dvorak, Schumann, Brahms, Faure, and Moszkowski are next to hitherto undiscovered compositions by Johann Ludwig Bohner, Heinrich Hofmann, Friedrich Gernsheim or Julius Rontgen, among others. A creative collection to add to the piano duet repertoire.
$16.99
15.47 €
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1 Piano, 4 mains
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Romantic Piano Music
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Schott Music - Digital
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SheetMusicPlus
Easy Baroque Piano Music
Piano Facile
Piano - easy - Digital Download Expanded edition. This edition: Sheet music. Barock, …
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Piano - easy - Digital Download Expanded edition. This edition: Sheet music. Barock, Piano, Sammlung. The European Piano Method. Downloadable. Schott Music - Digital #Q15826. Published by Schott Music - Digital
This popular volume has now been expanded to 31 pages.<br> As well as easy dances by Bach and Handel, this selection includes pieces by French, Italian and English baroque masters. Pupils will experience an uncomplicated first acquaintance with the polyphonic structure of baroque music. The ornaments are written out in full, in each case keeping within the technical boundaries of this level of development.This popular volume has now been expanded to 31 pages.<br> As well as easy dances by Bach and Handel, this selection includes pieces by French, Italian and English baroque masters. Pupils will experience an uncomplicated first acquaintance with the polyphonic structure of baroque music. The ornaments are written out in full, in each case keeping within the technical boundaries of this level of development.
$12.99
11.83 €
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Piano Facile
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Easy Baroque Piano Music
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Schott Music - Digital
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SheetMusicPlus
Clarke (Jeremiah) : Shore’s Musick – Malborough's Funeral March
Piano seul
Téléchargez la partition Piano Shore’s Musick – Malborough's Funera…
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Téléchargez la partition Piano Shore’s Musick – Malborough's Funeral March de Clarke (Jeremiah). Partition pour Piano seul -- Classique
3.99 €
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Piano seul
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Clarke (Jeremiah)
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Shore’s Musick – Malboroug
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Tomplay
Clarke (Jeremiah) : Shore’s Musick – Trumpet Minuet
Piano seul
Téléchargez la partition Piano Shore’s Musick – Trumpet Minuet de Clarke…
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Téléchargez la partition Piano Shore’s Musick – Trumpet Minuet de Clarke (Jeremiah). Partition pour Duo -- Classique
4.99 €
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Piano seul
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Clarke (Jeremiah)
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Shore’s Musick – Trumpet M
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Tomplay
Clarke (Jeremiah) : Shore’s Musick – Cibelle
Piano seul
Téléchargez la partition Piano Shore’s Musick – Cibelle de Clarke (Jerem…
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Téléchargez la partition Piano Shore’s Musick – Cibelle de Clarke (Jeremiah). Partition pour Piano seul -- Classique
3.99 €
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Piano seul
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Clarke (Jeremiah)
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Shore’s Musick – Cibelle
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Tomplay
Clarke (Jeremiah) : Shore’s Musick – Shore's Tune
Piano seul
Téléchargez la partition Piano Shore’s Musick – Shore's Tune de Cla…
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Téléchargez la partition Piano Shore’s Musick – Shore's Tune de Clarke (Jeremiah). Partition pour Duo -- Classique
4.99 €
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Piano seul
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Clarke (Jeremiah)
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Shore’s Musick – Shore's T
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Tomplay
Clarke (Jeremiah) : Shore’s Musick – Shoar's New Trumpett Tune
Piano seul
Téléchargez la partition Piano Shore’s Musick – Shoar's New Trumpet…
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Téléchargez la partition Piano Shore’s Musick – Shoar's New Trumpett Tune de Clarke (Jeremiah). Partition pour Duo -- Classique
3.99 €
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Piano seul
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Clarke (Jeremiah)
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Shore’s Musick – Shoar's N
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Tomplay
Clarke (Jeremiah) : Shore’s Musick – Trumpett
Piano seul
Téléchargez la partition Piano Shore’s Musick – Trumpett de Clarke (Jere…
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Téléchargez la partition Piano Shore’s Musick – Trumpett de Clarke (Jeremiah). Partition pour Duo -- Classique
3.99 €
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Piano seul
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Clarke (Jeremiah)
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Shore’s Musick – Trumpett
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Tomplay
Schubert : Schubert - Six moments musicaux, D. 780 Opus 94
Piano seul
Téléchargez la partition Piano Schubert - Six moments musicaux, D. 780 Opus …
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Téléchargez la partition Piano Schubert - Six moments musicaux, D. 780 Opus 94. Partition pour Piano seul -- Classique
12.99 €
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Piano seul
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Schubert
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Schubert
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Tomplay
Thank You For The Music
Piano seul
Piano - Level 2 - Digital Download SKU: A0.1140477 By ABBA. By Benny Andersson and …
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Piano - Level 2 - Digital Download SKU: A0.1140477 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Unimusic Academy (Academia Unimusica). Contemporary,Pop,Rock,Singer/Songwriter. Score (Chords/Lyrics). 8 pages. Unimusic Academy (Academia Unimusica) #740673. Published by Unimusic Academy (Academia Unimusica) (A0.1140477). Thank You for the Music is a song by the Swedish pop group ABBA. It was originally featured on the group's fifth studio album, The Album (1977), and was released as a double-A sided single with Eagle in May 1978 in limited territories, namely Belgium, the Netherlands, Germany, France, Austria, Switzerland and Australia. In South Africa where it peaked at number 2 in August 1978 and became the eighteenth best-selling single of that year. Gracias por la Música is the Spanish-language recording of Thank You for the Music, with lyrics by Buddy and Mary McCluskey. The B-side was the Spanish-language version of Gimme! Gimme! Gimme! (A Man After Midnight) entitled ¡Dame! ¡Dame! ¡Dame!. The song was released in 1980 to promote the band's Spanish-language album/compilation Gracias Por La Música. It was the group's seventh best-selling Spanish single, and also peaked at number 4 in Argentina.
$8.00
7.28 €
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Elements of Indian Music
Piano seul
Piano and keyboard - Intermediate-Advanced - Digital Download SKU: M0.30603MEB T…
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Piano and keyboard - Intermediate-Advanced - Digital Download SKU: M0.30603MEB The Melakarta System. Composed by Radhika Iyer. Theory and Reference. E-book and online audio. 101 pages. Mel Bay Publications - Digital Sheet Music #30603MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30603MEB). ISBN 9781619118232. 8.75x11.75 inches.Elements of Indian Music introduces the Indian melodic system in an accessible manner within the realm of Western music theory. It demonstrates a new archetype in music composition for composers of any genre, as well as composition teachers and anyone interested in ethnomusicology. This book contains a set of 12 etudes for piano and transcriptions for classical guitar. Each etude is about one minute in length and utilizes notes from a particular Indian scale. An intermediate to advanced skill level is required to perform each etude. Practicing and performing these studies is an excellent way to expand one’s musical perspective beyond traditional diatonic scales. Indian music has intrigued the West for a long time, but hasn’t always been accessible because of the absence of a systematic approach to theory and repertoire. Just as the Western harmonic system is well developed, the Indian melodic system is very advanced and equally established. The intermingling of these two worlds can inspire new, exceptional sonic landscapes. Useful literature on the evolution of the Indian melodic system is also included, with notes on how it can be used as a modus operandi by Western musicians who wish to apply Indian scales in Western compositions and improvisations. Includes access to online audio
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Piano seul
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Radhika Iyer
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Elements of Indian Music
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Essercizii Musici
Harpsichord or other Tasten-instruments - intermediate - Digital Download SKU: S9.Q2389…
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Harpsichord or other Tasten-instruments - intermediate - Digital Download SKU: S9.Q23899 Daraus Solostücke. Composed by Georg Philipp Telemann. This edition: Sheet music. Piano music pre-classicism. Downloadable. Schott Music - Digital #Q23899. Published by Schott Music - Digital (S9.Q23899).
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Georg Philipp Telemann
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Thank You For The Music
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.809392 By ABBA. By Be…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.809392 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Unimusic Group. Contemporary. Score. 10 pages. Unimusic Academy (Academia Unimusica) #6013531. Published by Unimusic Academy (Academia Unimusica) (A0.809392). ABBA (/ˈæbÉ™/, Swedish pronunciation: [ˈabËa]) is a Swedish pop supergroup formed in Stockholm in 1972 by Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad. The group's name is an acronym of the first letters of their first names. They became one of the most commercially successful acts in the history of popular music, topping the charts worldwide from 1974 to 1982. ABBA won the Eurovision Song Contest 1974, giving Sweden its first triumph in the contest. They are the most successful group to have taken part in the competition.
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Piano, Voix et Guitare
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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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21.84 €
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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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Academié Musicale: Piano Accompaniment
Accompagnement Piano
String Orchestra - Digital Download SKU: AX.00-PC-0016852_K Piano Accompaniment
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String Orchestra - Digital Download SKU: AX.00-PC-0016852_K Piano Accompaniment. Arranged by Rob Grice. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0016852_K. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016852_K). UPC: 038081496115.Here is a strong choice for your next festival or concert performance! Full of energy and vitality, this contemporary, fresh-sounding selection is will motivate your players and impress your audience! Sure to be a favorite! (2:10)Concert/Contest.
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5.45 €
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Accompagnement Piano
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Rob Grice
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Academié Musicale: Piano Accompaniment
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Alfred Music - Digital Sheet Music
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Piano music
Piano (harpsichord) - Digital Download SKU: S9.Q2195 Obras de Musica. Compos…
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Piano (harpsichord) - Digital Download SKU: S9.Q2195 Obras de Musica. Composed by Antonio de Cabezon. Arranged by Macario Santiago Kastner. This edition: Sheet music. Downloadable. Schott Music - Digital #Q2195. Published by Schott Music - Digital (S9.Q2195).
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Antonio de Cabezon
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Macario Santiago Kastner
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Piano music
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Piano Discoveries Piano Bk 1B
Piano Facile
Piano - Level 1+ - Digital Download Composed by Janet Vogt Zeitler and Leon Bates. Pi…
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Piano - Level 1+ - Digital Download Composed by Janet Vogt Zeitler and Leon Bates. Piano Discoveries Library Series. Piano Method. 48 pages. Heritage Music Press #40/1072H. Published by Heritage Music Press
Discover the difference a method can make with this exciting series! Piano Discoveries captures the musical imagination of students and teachers alike with appealing and sensitive repertoire, well-integrated and supportive music theory, creative activities, and a gradually paced building of technical skills that equips the student to progress successfully and musically. Created by an exceptional team: composer and teacher, Janet Vogt; world acclaimed concert artist and master teacher, Leon Bates; along with guidance and contributions from innovative composers and teachers including Nancy Telfer, Gail Berenson, Scott McBride Smith, Martha Sherrill Kelsey, and Rebecca Shockley, Piano Discoveries reflects the expertise and talents of its entire creative team.Discover the difference a method can make with this exciting series! Piano Discoveries captures the musical imagination of students and teachers alike with appealing and sensitive repertoire, well-integrated and supportive music theory, creative activities, and a gradually paced building of technical skills that equips the student to progress successfully and musically. Created by an exceptional team: composer and teacher, Janet Vogt; world acclaimed concert artist and master teacher, Leon Bates; along with guidance and contributions from innovative composers and teachers including Nancy Telfer, Gail Berenson, Scott McBride Smith, Martha Sherrill Kelsey, and Rebecca Shockley, Piano Discoveries reflects the expertise and talents of its entire creative team.
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11.79 €
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Piano Facile
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Janet Vogt Zeitler and Leon Bates
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Piano Discoveries Piano Bk 1B
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Heritage Music Press
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Little Housemusic
Piano seul
Piano - intermediate - Digital Download SKU: S9.Q1802 Composed by Kurt Hessenberg. …
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Piano - intermediate - Digital Download SKU: S9.Q1802 Composed by Kurt Hessenberg. This edition: Sheet music. Downloadable. Op. 24. Schott Music - Digital #Q1802. Published by Schott Music - Digital (S9.Q1802).
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15.47 €
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Piano seul
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Kurt Hessenberg
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Little Housemusic
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Schott Music - Digital
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