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FLUTE DE PA…
FORMATION M…
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GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
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OUD
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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
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
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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FLAMENCO
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HALLOWEEN
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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METHODE : ETUDES
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NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
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Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
12975
PIANO & CLAVIERS
Piano, Voix et Guitare
17271
Piano seul
16136
Piano, Voix
12900
Piano Facile
4309
Orgue
1210
1 Piano, 4 mains
786
Piano grosses notes
398
1 Piano, 6 mains
226
Piano (partie séparée)
181
Instruments en Do
171
2 Pianos, 4 mains
167
Piano Trio: piano, violon, violoncelle
161
Accordéon
132
Accompagnement Piano
129
Orgue, Trompette (duo)
32
Piano Quatuor: piano, 2 violons, violoncelle
30
Clavecin
25
Orgue, Piano (duo)
23
Clavier
13
2 Pianos, 8 mains
4
Accordéon, Voix
4
2 Accordéons
4
Orgue, Voix
2
2 Orgues (duo)
2
Ensemble d'Accordéons
2
Instrument seul et Orgue
2
Ligne De Mélodie, Piano
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
6873
Guitare
1101
Basse electrique
633
Ukulele
335
Ligne De Mélodie, (Paroles) et Accords
276
2 Guitares (duo)
140
Piano, Guitare (duo)
90
Guitare (partie séparée)
89
Dulcimer
53
4 Guitares (Quatuor)
47
Paroles et Accords
43
Mandoline
40
Ensemble de guitares
37
Banjo
30
3 Guitares (trio)
30
Basse électrique (partie séparée)
7
Mandoline, Guitare (duo)
6
Ensemble de Ukulélés
5
Guitare, Violon, Violoncelle (trio)
4
2 Ukuleles
4
Guitare, Flûte, Clarinette
4
Mandoline, Piano (duo)
3
Ukulele Baryton
3
2 Dulcimers (duo)
3
Dobro
1
Instrumentations suivantes
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VOIX
Chorale SATB
4559
Chorale 3 parties
1622
Chorale 2 parties
1568
Chorale TTBB
1278
Chorale SSAA
734
Chorale Unison
591
Voix seule
529
Voix duo, Piano
510
Chorale
398
Voix duo
262
Voix Soprano, Piano
134
Chorale SSATBB
78
Voix haute
73
Voix moyenne, Piano
41
Voix basse, Piano
41
Voix Tenor, Piano
28
Chorale SATTB
17
Voix basse
16
Voix Baryton, Piano
15
Chorale SSATTB
15
Voix d'Enfants
14
Chorale SSATB
14
Voix, Guitare
14
Voix Alto, Piano
13
Voix Mezzo-Soprano, Piano
13
Voix Moyenne
12
Voix Tenor
12
Chorale SSAATTBB
10
Chorale SATTBB, Clavier
8
Voix Soprano
5
Chorale SSAATB
5
Voix haute, Piano
4
Soli, choeur mixte et accompagnement
4
Chorale SAATB A Cappella
4
Chorale SSAB a cappella
3
Voix duo, Orgue
2
Chorale SATBB
2
Voix d'Enfants, Piano
2
Chorale SSAB, Piano
2
Chorale, Orgue
1
Chorale SSAATB A Cappella
1
Voix Baryton
1
Male Voice
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
1501
Clarinette et Piano
812
Quatuor de Saxophones: 4 saxophones
809
Saxophone Alto et Piano
784
Hautbois, Piano (duo)
771
Saxophone Tenor et Piano
599
Clarinette
541
2 Flûtes traversières (duo)
534
2 Saxophones (duo)
528
2 Clarinettes (duo)
467
Flûte traversière
418
3 Saxophones (trio)
402
Quatuor de Clarinettes: 4 clarinettes
393
Saxophone (partie séparée)
375
Saxophone Soprano et Piano
336
3 Clarinettes (trio)
326
Flûte, Clarinette (duo)
201
Trio de Flûtes: 3 flûtes
198
Saxophone Baryton, Piano
192
Quatuor de Flûtes : 4 flûtes
172
Clarinette (partie séparée)
162
Flûte et Guitare
155
2 Hautbois (duo)
148
Quatuor de Flûtes à bec
142
Saxophone
133
Clarinette Basse, Piano
130
Cor anglais, Piano
122
Saxophone Alto
117
Flûte, Hautbois, Basson
102
Hautbois (partie séparée)
101
Ensemble de Clarinettes
93
Flûte, Hautbois, Clarinette (trio)
88
Flûte, Clarinette et Basson
88
Hautbois, Basson (duo)
86
Ensemble de Flûtes
81
Flute (partie séparée)
81
Hautbois, Clarinette, Basson (trio d'anches)
78
Piccolo, Piano
78
Hautbois, Clarinette (duo)
76
Saxophone, Clarinette (duo)
75
Flûte à bec Soprano, Piano
73
2 Flûte à bec (duo)
70
Flûte, Violon
70
Clarinette, Violon (duo)
61
3 Flûtes à bec (trio)
58
Flûte, Violoncelle
54
Saxophone Tenor
54
Saxophone et Guitare
52
Flûte à Bec
50
Flûte à Bec, Piano
50
Ensemble de saxophones
50
Flûte à bec Tenor
49
Clarinette, Basson (duo)
49
Flûte à bec Alto, Piano
47
Hautbois
47
3 Hautbois
47
Quintette de Saxophone: 5 saxophones
42
Flûte, Hautbois (duo)
41
Clarinette, Guitare (duo)
41
Hautbois, Flûte
39
Quintette de Clarinettes: 5 clarinettes
39
Clarinette, Violoncelle (duo)
38
Ensemble De Flûte à bec
38
Flûte, Violon et Violoncelle
37
Clarinette, Trompette (duo)
27
2 Saxophones, Piano
25
Clarinette et Alto
24
Flûte, Alto (duo)
23
Flûte, Saxophone (duo)
23
Hautbois, violon (duo)
19
Saxophone, Violon (duo)
19
Flûte à bec Alto
19
Harmonica
18
Flûte, Violoncelle, Piano (trio)
18
Flûte à bec Soprano
16
5 Flûtes à bec
16
Flûte, Trompette (duo)
15
2 Clarinettes, Basson
14
2 Clarinettes, Piano
14
Flûte à bec, Guitare (duo)
13
Piccolo
12
Flûte, Violon, Piano
12
Flûte, Basson et Piano
12
Flute, Cor (duo)
11
2 Flûtes traversières, Piano
11
2 Cors Anglais Et Pianoforte
9
Flûte traversière, Basse continue
8
Flûte, Clarinette, Piano (trio)
8
Cor anglais, Guitare (duo)
8
Hautbois, Guitare (duo)
8
Hautbois, Violoncelle
8
Saxophone et Piano
8
4 Hautbois
7
Flûte, Trombone (duo)
7
Flûte, Hautbois, Clarinette, Basson
7
Cor Anglais
7
Flûte, Alto et Violoncelle
6
Saxophone Soprano
6
Ensemble à vent
6
Clarinette Basse
6
2 Hautbois et Cor anglais
6
Quintette de Flûte : 5 flûtes
6
Flûte, Violoncelle, Guitare
5
Clarinette, Harpe (duo)
5
Saxophone Baryton
4
Hautbois et alto (duo)
4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
4
Clarinette, Trombone (duo)
4
Cor anglais et Harpe (duo)
3
Flûte, Hautbois, Piano (trio)
3
Clarinette, Orchestre
3
Hautbois, Basson et Piano
3
Clarinette, Alto et Piano (trio)
3
Flûte, Hautbois, Violon
3
Saxophone et Orgue
3
Flûte, Harpe et Violoncelle
3
Flûte à bec Alto, Basse continue
3
2 Flûtes à bec, Piano
3
Flûte, Clarinette, Violon (trio)
3
Flûte traversière, Orgue (duo)
3
Flûte, Tuba (duo)
3
2 Flûtes traversières, Guitare
2
Clarinette, Basson, Piano (trio)
2
Saxophone et violoncelle
2
Cornemuse
2
Clarinette, Violoncelle, Piano (trio)
2
Flute, harpe et violon
2
Hautbois, trombone (duo)
2
Clarinette, Orgue
2
Saxophone, Basson (duo)
2
Flûte traversière, Orchestre
2
Ocarina
1
Harmonica, Piano
1
Hautbois, Harpe
1
Flûte, Alto et Piano
1
Clarinette, Tuba
1
2 Flûtes à bec, Guitare
1
Flûte, Guitare, Piano
1
Hautbois, Violon, Piano
1
Flûte, Violon, Guitare
1
2 Hautbois et Basson
1
Instrumentations suivantes
Retracter
CUIVRES
Trombone et Piano
663
Trompette, Piano
656
Cor et Piano
478
Trompette
293
Tuba et Piano
284
Trompette (partie séparée)
279
Trombone (partie séparée)
248
Quatuor de Cuivres : 2 trompettes, trombone, tuba
230
Quatuor de Cuivres: 2 trompettes, Cor, trombone
210
Quatuor de cuivres: 4 cors
196
Euphonium, Piano (duo)
182
2 Trompettes (duo)
165
Quatuor de cuivres: 4 trombones
164
2 Trombones (duo)
153
Cor anglais, Piano
122
Trompette, Trombone (duo)
119
Cor (partie séparée)
109
Trombone
107
Quatuor de Cuivres
105
2 Cors (duo)
97
Trompette, Saxophone (duo)
92
Cor
90
Ensemble de Trombones
64
Trombone basse et Piano
56
3 Trombones (trio)
55
Tuba (partie séparée)
49
Tuba
48
3 Trompettes (trio)
45
Trio de Cuivres
43
Euphonium
37
2 Tubas (duo)
30
Ensemble de Cors
30
Quatuor de cuivres: 4 trompettes
26
2 Euphoniums et 2 Tubas
23
Trompette, Cor (duo)
20
Trompette, violon (duo)
19
Trombone, Tuba (duo)
18
Trompette, Basson (duo)
17
Tuba et Orgue
17
Trompette, Tuba (duo)
16
2 Euphoniums (duo)
16
3 Cors (trio)
15
4 Tubas
14
Ensemble de Trompettes
12
Trombone basse
11
3 Tubas (trio)
10
Tuba ou Euphonium ou Saxhorn
10
Trombone, Cor (duo)
10
2 Trompettes, Clavier (piano ou orgue)
10
Euphonium, Tuba (duo)
10
Cor, Trompette, Trombone (trio)
9
Trompette et Guitare
9
Cor, Tuba (duo)
9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
9
2 Cors Anglais Et Pianoforte
9
Clarinette, Cor (duo)
8
Cor anglais, Guitare (duo)
8
Cor Anglais
7
Trombone, Orgue
6
Trompette, Violoncelle (duo)
4
Cornet et Piano
4
Cor et Orgue
3
Cor et Harpe
3
Cor anglais et Harpe (duo)
3
Cor, Violoncelle (duo)
3
Trombone, Violon (duo)
3
Trombone et orchestre
3
2 Trombones, Piano
2
3 Euphoniums
2
Trompette, Euphonium (duo)
2
Trompette, Trombone, Piano
2
2 Cors, Piano
1
Ensemble de Tubas
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone, Alto (duo)
1
Cor et Basson (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2128
Violon et Piano
1864
Violoncelle, Piano
1146
Alto, Piano
898
Violon
625
Trio à Cordes: violon, alto, violoncelle
583
Violon, Violoncelle (duo)
386
2 Violons (duo)
340
Harpe
327
2 Violoncelles (duo)
268
Contrebasse, Piano (duo)
223
Violon, Alto (duo)
211
Trio à Cordes: 2 violons, violoncelle
207
Violoncelle (partie séparée)
198
2 Altos (duo)
181
Alto seul
177
Violon (partie séparée)
175
Violoncelle
161
Trio à Cordes: 3 violoncelles
120
Alto, Violoncelle (duo)
111
Contrebasse (partie séparée)
107
4 Violoncelles
106
Trio à cordes
95
Violon, Guitare (duo)
92
Trio à cordes: 3 violins
86
Contre Basse
77
Alto (partie séparée)
72
Piano Trio: Violon, Alto, Piano
64
Violoncelle , Guitare (duo)
59
Trio à Cordes: 2 violons, alto
50
Quatuor à cordes: 4 violons
47
Quatuor à cordes : 4 altos
41
Trio à cordes: 3 altos
39
Violoncelle, Contrebasse (duo)
36
2 Harpes (duo)
35
Alto, Guitare (duo)
35
Harpe, Flûte (duo)
33
2 Contrebasses (duo)
28
2 Violons, Piano
15
Violon, Basson (duo)
14
Ensemble de Violoncelles
14
Harpe, Voix
13
Alto et Basson
12
Harpe, Violon (duo)
9
2 Violoncelles, Piano
8
Violon, Basse continue
8
Violoncelle, Basse continue
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Violon, Orgue
8
Quintette à cordes: 2 violons, 2 altos, violoncelle
7
Violoncelle, Orchestre
6
3 Contrebasses
6
Harpe (partie séparée)
5
Harpe, Violoncelle (duo)
5
2 Altos, Piano
4
Flûte, Contrebasse (duo)
4
Harpe, Violon, Violoncelle
4
Alto et Harpe
4
Violoncelle, Orgue
4
4 Contrebasses
3
Violon, Tuba (duo)
3
Alto, Orgue
2
Harpe et Piano
2
5 Harpes
2
Violon, Clarinette, Piano (trio)
2
Ensemble de Violons
2
3 Harpes
2
Violon, Contrebasse (duo)
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
4 Harpes
1
2 Violons et Basse continue
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1522
Cloches
801
Orchestre à Cordes
529
Orchestre
511
Batterie
291
Ensemble de cuivres
282
Ensemble Jazz
249
Orchestre de chambre
185
Fanfare
141
Percussion (partie séparée)
135
Jazz combo
97
Ensemble de Percussions
82
Batterie (partie séparée)
62
Marimba
46
Percussion
41
Xylophone, Piano
21
Timbales
17
Timbales (partie séparée)
15
Vibraphone
14
2 Xylophones
10
Vibraphone (partie séparée)
5
Vibraphone et Marimba
5
Caisse Claire
5
Piano et Orchestre
4
Xylophone
3
Instrumentation Flexible
2
Marimba, Piano (duo)
1
2 Percussions
1
Conga
1
2 Marimbas
1
Bodhran
1
Instrumentations suivantes
Retracter
AUTRES
Formation musicale - Solfège
39
Théorie de la musique
10
Papeterie
1
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Piano et Orchestre
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Concerto No. 6 Bb major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q12464 Cadenzas by the Composer
(+)
Piano and orchestra - Digital Download SKU: S9.Q12464 Cadenzas by the Composer. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 21 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q12464. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12464). Key: B flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$11.99
10.97 €
#
Piano et Orchestre
#
Wolfgang Amadeus Mozart
#
Concerto No. 6 Bb major
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and Orchestra - Digital Download SKU: S9.Q23932 For Piano and Orchestra
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Piano and Orchestra - Digital Download SKU: S9.Q23932 For Piano and Orchestra. Composed by Gyorgy Ligeti. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 24 minutes. Schott Music - Digital #Q23932. Published by Schott Music - Digital (S9.Q23932). 1 (auch Picc.) * 1 * 1 (auch Alt-Okarina in G) * 1 - 1 * 1 * 1 * 0 - S. (Trgl. * 2 Crot. * 2 hg. Beck., klein u. normal gross * 4 Woodbl. * 5 Tempelbl. * Schellentr. * kl. Tr. * 3 Rototoms * 4 Tomt. * gr. Tr. * Guero * Kast. * Peitsche * Sirenenpfeife * Trillerpfeife * Lotosfl. * Flexaton * Chromonica in C 270 [Hohner] * Glspl. * Xyl.) (1-2 Spieler) - Str. (8 * 7 * 6 * 5 * 4; auch solistische Streicherbesetzung 1 * 1 * 1 * 1 * 1 moglich)1 (auch Picc.) · 1 · 1 (auch Alt-Okarina in G) · 1 – 1 · 1 · 1 · 0 – S. (Trgl. · 2 Crot. · 2 hg. Beck., klein u. normal groß · 4 Woodbl. · 5 Tempelbl. · Schellentr. · kl. Tr. · 3 Rototoms · 4 Tomt. · gr. Tr. · Guero · Kast. · Peitsche · Sirenenpfeife · Trillerpfeife · Lotosfl. · Flexaton · Chromonica in C 270 [Hohner] · Glspl. · Xyl.) (1–2 Spieler) – Str. (8 · 7 · 6 · 5 · 4; auch solistische Streicherbesetzung 1 · 1 · 1 · 1 · 1 möglich).
$51.99
47.57 €
#
Piano et Orchestre
#
Gyorgy Ligeti
#
Concerto
#
Schott Music - 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)
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21.95 €
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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
Concerto No. 6 for Piano and Orchestra
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Classical Period, 20th Century. Easy/Beginner…
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By Alexander Peskanov. For Piano, Orchestra. Classical Period, 20th Century. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC6. Published by Classical Video Concepts, Inc
$20.00
18.3 €
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 6 for Piano and Orchestra
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Classical Video Concepts, Inc
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SheetMusicPlus
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