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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
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Musicnotes
Note4Piano
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SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
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avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
39652
PIANO & CLAVIERS
Piano, Voix et Guitare
91217
Piano seul
65532
Piano Facile
25160
Piano, Voix
22267
Instruments en Do
5504
Piano grosses notes
4081
1 Piano, 4 mains
1441
Accordéon
1204
Orgue
989
Accompagnement Piano
841
Piano (partie séparée)
448
Piano Trio: piano, violon, violoncelle
342
2 Pianos, 4 mains
170
Ligne De Mélodie, Piano
140
Accordéon, Voix
102
Piano Quintette: piano, 2 violons, alto, violoncelle
102
Piano Quatuor: piano, 2 violons, violoncelle
98
Piano Quatuor: piano, violon, alto, violoncelle
93
Clavier
72
Instrument seul et Orgue
33
1 Piano, 6 mains
20
Orgue, Piano (duo)
17
2 Pianos, 8 mains
14
Clavecin
11
Orgue, Trompette (duo)
10
Ensemble d'Accordéons
8
2 Accordéons
4
Fake Book
2
Tous Les Instruments
2
Orgue, Voix
1
Ensemble de Pianos
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Orgue et Orchestre
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
43533
Ligne De Mélodie, (Paroles) et Accords
17538
Paroles et Accords
15199
Ukulele
9950
Basse electrique
9456
Guitare
9080
Mandoline
703
Piano, Guitare (duo)
471
Banjo
395
Dulcimer
374
Guitare (partie séparée)
317
Basse électrique (partie séparée)
248
Ensemble de guitares
174
2 Guitares (duo)
170
Ukulele Baryton
160
Ensemble de Ukulélés
88
4 Guitares (Quatuor)
70
3 Guitares (trio)
50
Dobro
36
2 Dulcimers (duo)
12
Mandoline, Guitare (duo)
5
2 Ukuleles
4
Guitare Pedal Steel
4
Guitare, Violon, Violoncelle (trio)
4
Partitions De Groupes
3
2 Mandolines (duo)
2
Guitare, Flûte, Clarinette
2
Cithare
1
Mandoline, Piano (duo)
1
3 Dulcimers (trio)
1
Orchestre à Plectres
1
Instrumentations suivantes
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VOIX
Chorale SATB
11561
Chorale 3 parties
7407
Pack Instrumental pour Chorale
4189
Chorale TTBB
3517
Chorale 2 parties
2997
Voix seule
2467
Chorale SSAA
2166
Chorale
1623
Voix duo, Piano
519
Chorale Unison
498
Voix haute
239
Voix duo
209
Voix Alto, Piano
164
Voix Soprano, Piano
133
Voix Tenor, Piano
129
Voix Baryton, Piano
89
Chorale SSATB
55
Voix, Guitare
51
Voix Tenor
46
Voix basse, Piano
41
Chorale SSATBB
34
Voix Soprano
30
Chorale SSAATTBB
27
Chorale SSAB a cappella
26
Chorale SSAB, Piano
25
Chorale SSAATB
21
Voix moyenne, Piano
18
Chorale SSATTB
14
Male Voice
13
Voix basse
9
Voix Mezzo-Soprano, Piano
4
Chorale SATTB
3
Chorale SSAATB A Cappella
3
Chorale SATTBB, Clavier
2
Chorale SAATB A Cappella
2
Voix Baryton
1
Chorale SATTBB A Cappella
1
Soli, choeur mixte et accompagnement
1
Instrumentations suivantes
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VENTS
Saxophone
11311
Flûte traversière
9439
Clarinette
8534
Saxophone (partie séparée)
5962
Saxophone Alto
5451
Saxophone Tenor
4950
Flûte traversière et Piano
2483
Quatuor de Saxophones: 4 saxophones
2273
Clarinette et Piano
2145
Clarinette (partie séparée)
1946
Saxophone Alto et Piano
1926
Hautbois, Piano (duo)
1790
2 Saxophones (duo)
1696
Saxophone Tenor et Piano
1560
Flûte, Hautbois, Clarinette, Basson
1436
Hautbois (partie séparée)
1391
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1332
2 Flûtes traversières (duo)
1158
2 Clarinettes (duo)
1105
Flute (partie séparée)
912
Quatuor de Clarinettes: 4 clarinettes
906
Saxophone Soprano et Piano
833
Quintette de Saxophone: 5 saxophones
815
Saxophone Soprano
779
Hautbois
690
Flûte à Bec
588
Harmonica
561
3 Saxophones (trio)
489
Saxophone Baryton, Piano
386
Quatuor de Flûtes : 4 flûtes
368
Flûte à bec Soprano
334
Flûte, Clarinette (duo)
334
2 Flûte à bec (duo)
329
2 Hautbois (duo)
292
Ensemble de saxophones
290
Flûte à bec Alto
289
3 Clarinettes (trio)
281
Cor anglais, Piano
247
Trio de Flûtes: 3 flûtes
239
Ensemble de Clarinettes
239
Quintette de Clarinettes: 5 clarinettes
218
Ocarina
198
Instruments en Mib
191
Ensemble de Flûtes
170
Hautbois, Basson (duo)
170
Saxophone, Clarinette (duo)
153
Saxophone Baryton
153
Flûte et Guitare
150
Flûte, Violon
149
Hautbois, Clarinette (duo)
145
Clarinette, Violon (duo)
133
Flûte, Hautbois, Clarinette (trio)
123
Hautbois, Flûte
105
Flûte, Clarinette et Basson
103
Cor Anglais
97
Flûte, Hautbois (duo)
96
Clarinette Basse
94
Clarinette Basse, Piano
89
Clarinette, Trompette (duo)
87
Quintette de Flûte : 5 flûtes
85
Hautbois, Clarinette, Basson (trio d'anches)
83
Flûte, Hautbois, Basson
83
Clarinette, Basson (duo)
82
Flûte, Violon, Piano
73
Ensemble De Flûte à bec
69
Piccolo
65
Flûte, Saxophone (duo)
57
Flûte, Trompette (duo)
57
3 Hautbois
52
Quatuor de Flûtes à bec
51
Flûte, Violoncelle
49
Flûte, Alto (duo)
48
Clarinette et Alto
48
Flûte, Violon et Violoncelle
43
Clarinette, Violoncelle (duo)
37
Flûte à bec Tenor
34
Flûte, Violoncelle, Piano (trio)
32
2 Saxophones, Piano
31
2 Clarinettes, Piano
30
Flûte, Basson et Piano
30
Saxophone et Piano
29
Hautbois, Violoncelle
28
Flûte, Trombone (duo)
27
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
26
Hautbois, violon (duo)
25
Flûte, Hautbois, Piano (trio)
24
3 Flûtes à bec (trio)
23
2 Flûtes traversières, Piano
22
Hautbois, Guitare (duo)
22
Clarinette, Guitare (duo)
21
Flûte, Clarinette, Piano (trio)
20
Flûte, Clarinette, Cor, Basson (Quartet)
20
Saxophone, Violon (duo)
19
Flûte, Clarinette, Violon (trio)
18
Clarinette, Basson, Piano (trio)
18
Clarinette, Violoncelle, Piano (trio)
18
Clarinette, Harpe (duo)
17
Flûte à bec Alto, Piano
17
Hautbois, Trompette (duo)
16
2 Clarinettes, Basson
15
Clarinette, Trombone (duo)
14
Flûte, Alto et Piano
12
Flûte et Trio à cordes
12
Flûte à bec Soprano, Piano
11
Saxophone et Guitare
11
Flûte irlandaise
11
5 Flûtes à bec
11
Hautbois et alto (duo)
10
Flûte, Hautbois, Violon
9
Flûte, Violon, Violoncelle et Piano
9
Flute, harpe et violon
8
Flûte à bec, Guitare (duo)
7
Hautbois, Violoncelle et Piano
6
Flûte à Bec, Piano
6
Piccolo, Piano
6
Clarinette, Alto et Piano (trio)
6
Flûte, trombone et piano
5
Flute, Cor (duo)
5
Hautbois, Violin, Alto et Violoncelle (Quatuor)
5
Saxophone et violoncelle
5
Hautbois, Clarinette et Piano (Trio)
4
Saxophone, Basson (duo)
4
4 Hautbois
4
Flûte, Harpe et Violoncelle
3
Hautbois, trombone (duo)
3
Saxophone et Harpe
3
Clarinette, Tuba
3
Clarinette, trompette et piano
3
Hautbois, Harpe
3
Saxophone et Orgue
3
Hautbois, Basson et Piano
3
2 Flûtes, 2 Clarinettes (Quatuor)
3
Hautbois, Violon, Piano
3
Flûte, Tuba (duo)
3
2 Flûtes à bec, Piano
2
Harmonica, Piano
2
2 Hautbois, Piano
2
Flûte de Pan
2
Flûte, Violoncelle, Guitare
2
Cornemuse
2
Flûte traversière, Orgue (duo)
2
Ensemble à vent
2
Flûte, Alto et Violoncelle
2
Cor anglais, Guitare (duo)
1
2 Hautbois, 2 Cors et 2 Bassons
1
Flûte, Violon, Guitare
1
Clarinette, Orgue
1
2 clarinettes, 2 bassons
1
2 Flûtes traversières, Harpe
1
2 Cors Anglais Et Pianoforte
1
Clarinette, Contrebasse (duo)
1
Flûte et Quatuor à Cordes
1
Cor anglais et Harpe (duo)
1
Flûte à bec Alto, Basse continue
1
Instrumentations suivantes
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CUIVRES
Trompette
8269
Trombone
7701
Trompette (partie séparée)
4270
Cor
3457
Trombone (partie séparée)
2611
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1719
Trompette, Piano
1657
Trombone et Piano
1506
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1143
Tuba
1067
Cor et Piano
982
2 Trompettes (duo)
733
Cor (partie séparée)
702
2 Trombones (duo)
701
Tuba (partie séparée)
512
Quatuor de Cuivres: 2 trompettes, Cor, trombone
507
Quatuor de Cuivres
484
Tuba et Piano
449
Euphonium
381
2 Cors (duo)
285
Bass Clef Instruments
279
Cor anglais, Piano
247
Trompette, Trombone (duo)
233
Instruments en Sib
215
Euphonium, Piano (duo)
156
2 Euphoniums et 2 Tubas
140
Quatuor de cuivres: 4 trombones
133
Trompette, Cor (duo)
132
Trompette, Saxophone (duo)
132
Tuba ou Euphonium ou Saxhorn
130
Cor Anglais
97
2 Tubas (duo)
92
Quatuor de cuivres: 4 cors
84
Ensemble de Trombones
66
Trio de Cuivres
56
4 Tubas
44
Trombone, Tuba (duo)
40
Ensemble de Cors
36
3 Trompettes (trio)
35
3 Trombones (trio)
34
Trombone, Cor (duo)
33
Trompette, Tuba (duo)
32
Cor, Tuba (duo)
28
Quatuor de cuivres: 4 trompettes
28
Ensemble de Trompettes
24
Quatuor de cuivres: 2 trompettes, 2 trombones
24
Tuba et Orgue
23
Trompette, violon (duo)
19
Trombone, violoncelle (duo)
16
Trombone basse
16
Euphonium, Tuba (duo)
16
Cor, Violoncelle (duo)
16
Trompette, Violoncelle et Piano
10
Trombone basse et Piano
10
Cor et Harpe
9
Trompette, Trombone, Piano
9
Trompette, Basson (duo)
8
Clarinette, Cor (duo)
8
Trombone, Orgue
7
2 Euphoniums (duo)
7
2 Trompettes, Clavier (piano ou orgue)
7
Trompette, Harpe
7
Trompette, Violoncelle (duo)
6
3 Cors (trio)
5
Trompette, Euphonium (duo)
4
2 Cors, Piano
4
Trombone, Violon (duo)
3
Trombone, Alto (duo)
3
Cor et Basson (duo)
3
Euphonium (partie séparée)
2
Euphonium Ou Saxhorn Et Piano
2
3 Tubas (trio)
2
2 Trombones, Piano
1
Cor anglais, Guitare (duo)
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Cornet et Piano
1
Trompette et Guitare
1
Cor et Orgue
1
Ensemble de Tubas
1
Trombone et orchestre
1
2 Cors Anglais Et Pianoforte
1
Cor, Trompette, Trombone (trio)
1
Cor anglais et Harpe (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
8548
Violon
7556
Violoncelle
5812
Alto seul
4463
Violon et Piano
3399
Violoncelle, Piano
2553
Alto, Piano
2278
Violon, Violoncelle (duo)
1509
2 Violons (duo)
1427
Trio à Cordes: violon, alto, violoncelle
1330
Harpe
1168
2 Violoncelles (duo)
1087
Violon (partie séparée)
1058
Alto (partie séparée)
873
Contrebasse (partie séparée)
862
Quintette à cordes: 2 violons, alto, violoncelle, basse
774
Contre Basse
688
Trio à Cordes: 2 violons, violoncelle
541
Violon, Alto (duo)
475
Contrebasse, Piano (duo)
455
2 Altos (duo)
412
Violoncelle (partie séparée)
289
Alto, Violoncelle (duo)
238
4 Violoncelles
164
Piano Trio: Violon, Alto, Piano
152
Trio à cordes: 3 violins
143
Trio à Cordes: 3 violoncelles
108
2 Contrebasses (duo)
94
Violon, Guitare (duo)
85
Trio à cordes: 3 altos
73
Trio à Cordes: 2 violons, alto
71
Trio à cordes
57
Quatuor à cordes: 4 violons
51
Violoncelle, Contrebasse (duo)
43
Quintette à cordes: 2 violons, 2 altos, violoncelle
43
2 Harpes (duo)
39
Violoncelle , Guitare (duo)
38
Harpe, Violon (duo)
38
Violon, Basson (duo)
35
Quatuor à cordes : 4 altos
34
Quintette à cordes : 2 violons, alto et 2 violoncelles
27
Alto, Guitare (duo)
26
Harpe, Flûte (duo)
25
2 Violons, Piano
24
2 Violoncelles, Piano
22
Alto et Basson
16
Ensemble de Violons
13
2 Altos, Piano
11
Harpe, Voix
10
Violon, Clarinette, Piano (trio)
9
Harpe, Violon, Violoncelle
8
Ensemble de Violoncelles
8
Alto et Harpe
6
Harpe (partie séparée)
5
Harpe et Piano
5
Harpe, Violoncelle (duo)
5
Ensemble d'Altos
5
Autoharp
4
4 Contrebasses
4
3 Harpes
4
Flûte, Contrebasse (duo)
3
Violoncelle, Orchestre
3
Harpe, Trombone (duo)
2
Violoncelle, Orgue
2
Alto et orchestre
1
Violon, Trompette et Piano
1
Violon, Orgue
1
Violon, Basse continue
1
Violon, Contrebasse (duo)
1
Violon, Tuba (duo)
1
Alto, Orgue
1
Harpe et Orgue
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Batterie
9337
Orchestre d'harmonie
9265
Fanfare
5543
Ensemble Jazz
3931
Orchestre
3613
Orchestre à Cordes
1907
Percussion (partie séparée)
1366
Batterie (partie séparée)
1029
Ensemble de cuivres
1008
Cloches
693
Jazz combo
658
Percussion
478
Orchestre de chambre
436
Ensemble de Percussions
296
Xylophone
224
Timbales (partie séparée)
162
Marimba
154
Vibraphone
122
Timbales
91
Caisse Claire
30
Xylophone, Piano
30
Vibraphone (partie séparée)
23
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
22
3 Marimbas
12
Quintette de Cuivres: autres combinaisons
12
Instrumentation Flexible
11
Xylophone (partie séparée)
11
Big band
10
Piano et Orchestre
6
2 Xylophones
5
Quintette à Vent
4
Xylophone ou Marimba ou Vibraphone
4
Bongos
3
Voix et Orchestre
3
Cajon
2
Vibraphone et Marimba
2
2 Marimbas
1
Marimba, Piano (duo)
1
2 Percussions
1
Quatuor à Vent : 4 instruments à vents
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
2
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Concerto No. 23 A major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21388 Composed by Wolfgang Amadeus …
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Piano and orchestra - Digital Download SKU: S9.Q21388 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21388. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21388). Key: A major. German • English.Mozart’s Piano Concerto in A major is one of his most popular and frequently performed works. The four movements are characterised by contrast: simple and clear, melancholy and insistent, powerful and playful, and a grand finale.
$12.99
11.88 €
#
Piano et Orchestre
#
Wolfgang Amadeus Mozart
#
Concerto No. 23 A major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)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
21.93 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
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Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
182.85 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
How Can I Keep From Singing?
Piano et Orchestre
By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Chri…
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian, Pop, Gospel. Early Intermediate. Sheet Music Single. Published by Exultet Music
$3.99
3.65 €
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Piano et Orchestre
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Stephen DeCesare
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How Can I Keep From Singing?
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Exultet Music
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
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Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
137.14 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
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Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
114.28 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
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