English version
PARTITIONS GRATUITES
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
11
Partitions
Numériques
8
Librairie
Musicale
62
Matériel
de Musique
30 222
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
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
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
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
THANKSGIVING
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
28578
PIANO & CLAVIERS
Piano seul
40145
Piano, Voix
9063
Piano, Voix et Guitare
6534
Piano Facile
6040
Piano grosses notes
3409
Orgue
2608
Accordéon
2390
Instruments en Do
1504
1 Piano, 4 mains
771
Accompagnement Piano
488
Piano Trio: piano, violon, violoncelle
211
2 Pianos, 4 mains
153
Piano (partie séparée)
122
Orgue, Trompette (duo)
89
Piano Quatuor: piano, 2 violons, violoncelle
71
Piano Quatuor: piano, violon, alto, violoncelle
70
Clavier
70
Ligne De Mélodie, Piano
69
Piano Quintette: piano, 2 violons, alto, violoncelle
62
Orgue, Piano (duo)
40
Clavecin
23
Accordéon, Voix
23
1 Piano, 6 mains
22
Instrument seul et Orgue
16
2 Pianos, 8 mains
7
Ensemble d'Accordéons
4
Orgue, Voix
3
Tous Les Instruments
3
Accordéon, Piano
2
Piano Quintette: piano, violon, alto, violoncelle, contre basse
2
Accordéon, Corde(s)
1
Ensemble de Pianos
1
2 Orgues (duo)
1
Concertina
1
Instrumentations suivantes
Retracter
GUITARES
Guitare
5766
Guitare notes et tablatures
4387
Basse electrique
3813
Ligne De Mélodie, (Paroles) et Accords
1768
Ukulele
1232
Paroles et Accords
626
Piano, Guitare (duo)
218
2 Guitares (duo)
159
Guitare (partie séparée)
134
Banjo
118
Mandoline
99
4 Guitares (Quatuor)
86
Dulcimer
76
Mandoline, Piano (duo)
46
Ensemble de guitares
37
3 Guitares (trio)
34
Basse électrique (partie séparée)
33
Ukulele Baryton
15
2 Dulcimers (duo)
13
Partitions De Groupes
10
Dobro
10
Ensemble de Ukulélés
8
Guitare, Violon, Violoncelle (trio)
7
Mandoline, Guitare (duo)
7
Guitare Pedal Steel
4
2 Mandolines (duo)
3
Orchestre à Plectres
3
3 Dulcimers (trio)
2
2 Ukuleles
1
2 Guitares, Clarinette (trio)
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
8894
Voix seule
5880
Chorale 2 parties
3223
Chorale 3 parties
3182
Chorale Unison
1333
Chorale TTBB
1056
Voix duo, Piano
1006
Chorale SSAA
646
Chorale
519
Voix duo
434
Voix haute
173
Voix Soprano, Piano
170
Chorale SATTB
80
Chorale SSATBB
60
Voix Alto, Piano
45
Voix moyenne, Piano
40
Voix Tenor, Piano
26
Voix basse, Piano
25
Voix Tenor
21
Voix Mezzo-Soprano, Piano
18
Chorale SAATB A Cappella
18
Chorale SSAATTBB
17
Chorale SSATB
17
Voix basse
13
Soli, choeur mixte et accompagnement
12
Chorale SSATTB
12
Voix, Guitare
11
Voix Soprano
11
Voix Baryton, Piano
10
Chorale SATTBB, Clavier
8
Chorale SSAB, Piano
6
Chorale, Orgue
4
Chorale SATBB
3
Voix Baryton
2
Chorale SSAB a cappella
2
Voix duo, Orgue
2
Voix Moyenne
2
Male Voice
1
Chorale SATTBB A Cappella
1
Chorale SSAATB
1
Instrumentations suivantes
Retracter
VENTS
Saxophone
16052
Flûte traversière
8613
Clarinette
7842
Saxophone Alto
2135
Flûte traversière et Piano
2103
Saxophone Tenor
1932
Clarinette et Piano
1491
Flûte à Bec
1389
Hautbois, Piano (duo)
1357
Saxophone (partie séparée)
1352
2 Saxophones (duo)
1287
Quatuor de Saxophones: 4 saxophones
1271
Saxophone Alto et Piano
1221
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
955
Saxophone Tenor et Piano
926
Flûte, Hautbois, Clarinette, Basson
842
Quatuor de Clarinettes: 4 clarinettes
835
Hautbois
811
Flûte à bec Soprano
789
2 Flûtes traversières (duo)
763
2 Clarinettes (duo)
739
Clarinette (partie séparée)
642
Saxophone Soprano
621
Saxophone Soprano et Piano
606
Hautbois (partie séparée)
501
Quintette de Saxophone: 5 saxophones
429
Quatuor de Flûtes : 4 flûtes
406
3 Saxophones (trio)
365
Flûte, Clarinette (duo)
361
3 Clarinettes (trio)
350
2 Flûte à bec (duo)
310
Flute (partie séparée)
295
Ensemble de Clarinettes
268
Saxophone, Clarinette (duo)
241
2 Hautbois (duo)
236
Trio de Flûtes: 3 flûtes
233
Clarinette, Violon (duo)
228
Saxophone Baryton, Piano
227
Hautbois, Basson (duo)
213
Ensemble de Flûtes
200
Cor anglais, Piano
186
Flûte et Guitare
183
Quatuor de Flûtes à bec
173
Flûte, Violon
172
Quintette de Clarinettes: 5 clarinettes
170
Hautbois, Clarinette (duo)
163
Ensemble de saxophones
160
Clarinette, Trompette (duo)
154
Harmonica
150
Clarinette et Alto
134
Flûte à bec Soprano, Piano
134
Flûte, Alto (duo)
117
Flûte, Hautbois, Clarinette (trio)
116
Flûte, Clarinette et Basson
116
Flûte, Violoncelle
113
Clarinette, Basson (duo)
102
3 Flûtes à bec (trio)
98
Flûte, Hautbois, Basson
95
Flûte, Saxophone (duo)
94
Hautbois, Flûte
93
Quintette de Flûte : 5 flûtes
91
Flûte, Violon et Violoncelle
86
Flûte à bec Alto
82
Cor Anglais
74
Flûte irlandaise
68
Clarinette Basse, Piano
65
Hautbois, Clarinette, Basson (trio d'anches)
64
Clarinette, Violoncelle (duo)
64
Flûte, Trompette (duo)
63
Ocarina
57
2 Flûtes traversières, Piano
51
Instruments en Mib
51
Ensemble De Flûte à bec
50
5 Flûtes à bec
49
Clarinette, Guitare (duo)
48
Flûte, Harpe et Violoncelle
46
Flûte, Hautbois (duo)
45
2 Clarinettes, Basson
45
Clarinette, Harpe (duo)
40
Saxophone Baryton
38
Flûte à Bec, Piano
36
Flûte, Clarinette, Piano (trio)
36
Flûte à bec, Guitare (duo)
33
Flûte, Violon, Piano
32
Flûte, Violoncelle, Piano (trio)
31
Hautbois, Violoncelle
29
Flûte à bec Alto, Piano
26
Piccolo
26
Flûte à bec Tenor
24
2 Clarinettes, Piano
21
Flûte, Basson et Piano
20
Clarinette Basse
20
Clarinette, Violoncelle, Piano (trio)
20
Piccolo, Piano
20
2 Saxophones, Piano
20
4 Hautbois
19
Hautbois, Guitare (duo)
18
Saxophone et Piano
15
Saxophone et Guitare
15
Flûte, Trombone (duo)
15
3 Hautbois
13
Flûte, Hautbois, Piano (trio)
13
Saxophone et Orgue
13
Quintette de Clarinette: Clarinette, Quatuor à Cordes
12
Cor anglais, Guitare (duo)
12
Flûte, Hautbois, Violon
11
Clarinette, Trombone (duo)
10
Flute, harpe et violon
10
Flûte à bec Soprano, Basse continue
10
Flûte, Clarinette, Violon (trio)
9
Hautbois, violon (duo)
9
Clarinette, Basson, Piano (trio)
8
Flûte, Violon, Violoncelle et Piano
8
Hautbois, Harpe
8
Flûte et Trio à cordes
8
Flûte, Alto et Piano
8
Hautbois et alto (duo)
7
Saxophone et Harpe
7
Flûte traversière, Orgue (duo)
7
Hautbois, trombone (duo)
7
Ensemble de Hautbois
6
2 Cors Anglais Et Pianoforte
6
Clarinette, trompette et piano
6
Clarinette, Orchestre
6
Saxophone et violoncelle
6
Flûte, trombone et piano
6
Hautbois, Basson et Piano
6
Flûte, Alto et Violoncelle
5
Flûte, Clarinette, Cor, Basson (Quartet)
5
Saxophone, Violon (duo)
4
Flûte à bec Alto, Basse continue
4
Hautbois, Clarinette et Piano (Trio)
4
Flûte traversière, Basse continue
4
2 Hautbois, Piano
4
Clarinette, Alto et Piano (trio)
4
Flûte, alto et harpe
4
Flûte, Violoncelle, Guitare
3
Cornemuse
3
Ensemble à vent
3
Flute, Cor (duo)
3
Flûte, Violon, Guitare
3
Flûte et Quatuor à Cordes
3
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
Hautbois, Violoncelle et Piano
3
Clarinette, Tuba
3
Flûte de Pan
2
Flûte à bec, Harpe
2
Clarinette, Orgue
2
Flûte, Tuba (duo)
2
2 Flûtes à bec, Piano
2
Clarinette, Contrebasse (duo)
2
Harmonica, Piano
2
Flûte traversière, Orchestre
1
2 Harmonicas
1
2 clarinettes, 2 bassons
1
Flute, alto, violoncelle et guitare
1
Cor anglais et Harpe (duo)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Melodica
1
Saxophone, Basson (duo)
1
2 Flûtes traversières, Harpe
1
Hautbois, Violon, Piano
1
2 Hautbois et Basson
1
Hautbois, Quatuor à cordes
1
2 Flûtes traversières, Guitare
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette
7096
Trombone
6304
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1366
Trompette, Piano
1057
Trombone et Piano
1027
Cor
985
Trompette (partie séparée)
882
Trombone (partie séparée)
813
Cor et Piano
654
Quatuor de Cuivres : 2 trompettes, trombone, tuba
621
Tuba
548
Euphonium
436
2 Trompettes (duo)
399
2 Trombones (duo)
394
Cor (partie séparée)
357
Quatuor de Cuivres
355
Quatuor de Cuivres: 2 trompettes, Cor, trombone
286
Tuba et Piano
261
Trompette, Trombone (duo)
218
Tuba (partie séparée)
206
Quatuor de cuivres: 4 trombones
193
Cor anglais, Piano
186
Trompette, Saxophone (duo)
172
2 Cors (duo)
157
Euphonium, Piano (duo)
147
Ensemble de Trombones
111
Quatuor de cuivres: 4 cors
101
Trompette, Cor (duo)
84
2 Tubas (duo)
79
Ensemble de Trompettes
79
Cor Anglais
74
2 Euphoniums et 2 Tubas
72
Bass Clef Instruments
71
Trio de Cuivres
57
Instruments en Sib
55
4 Tubas
55
Quatuor de cuivres: 4 trompettes
50
3 Trombones (trio)
38
Ensemble de Cors
32
Trombone, Tuba (duo)
30
2 Euphoniums (duo)
29
Euphonium, Tuba (duo)
23
3 Trompettes (trio)
22
Trombone, Cor (duo)
21
Trompette, Tuba (duo)
17
Cornet A Pistons
16
Cor, Violoncelle (duo)
14
Tuba ou Euphonium ou Saxhorn
13
Instruments en Fa
13
Cor anglais, Guitare (duo)
12
Tuba et Orgue
11
Trompette, Violoncelle (duo)
11
3 Cors (trio)
10
Trombone, Orgue
10
Quatuor de cuivres: 2 trompettes, 2 trombones
10
Cor et Harpe
9
3 Tubas (trio)
9
Trompette, Trombone, Piano
9
Trompette, Harpe
9
Trombone basse et Piano
9
Trompette, violon (duo)
9
2 Trompettes, Clavier (piano ou orgue)
8
Trombone basse
7
Cor, Tuba (duo)
7
Trombone, Violon (duo)
7
Trombone, Alto (duo)
6
Trompette, Basson (duo)
6
Cor et Basson (duo)
6
2 Cors Anglais Et Pianoforte
6
2 Trombones, Piano
6
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
6
Cor et Orgue
5
Trompette et Guitare
5
Trombone et orchestre
4
Clarinette, Cor (duo)
3
2 Cors, Piano
3
Ensemble de Tubas
2
Trompette, Orchestre
2
Trompette, Violoncelle et Piano
2
3 Euphoniums
2
Bugle
2
Cornet et orchestre
2
Cor, Violoncelle et Piano
1
Cor anglais et Harpe (duo)
1
Cor, Trompette, Trombone (trio)
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Trompette, Euphonium (duo)
1
4 Euphoniums
1
Instrumentations suivantes
Retracter
CORDES
Violon
6069
Quatuor à cordes: 2 violons, alto, violoncelle
4390
Violoncelle
3812
Alto seul
2924
Violon et Piano
2677
Harpe
2237
Violoncelle, Piano
1513
Alto, Piano
1395
Violon, Violoncelle (duo)
1172
Trio à Cordes: violon, alto, violoncelle
922
2 Violons (duo)
765
Violon (partie séparée)
598
Violon, Alto (duo)
557
2 Violoncelles (duo)
505
Contre Basse
398
Quintette à cordes: 2 violons, alto, violoncelle, basse
383
2 Altos (duo)
379
Harpe, Flûte (duo)
357
Trio à Cordes: 2 violons, violoncelle
356
Contrebasse (partie séparée)
338
Alto (partie séparée)
326
Contrebasse, Piano (duo)
262
2 Harpes (duo)
211
Alto, Violoncelle (duo)
193
Violoncelle (partie séparée)
185
Harpe, Violon (duo)
143
4 Violoncelles
128
Piano Trio: Violon, Alto, Piano
119
Violon, Guitare (duo)
106
Trio à Cordes: 3 violoncelles
83
Trio à cordes: 3 violins
82
Trio à cordes
71
Violoncelle, Contrebasse (duo)
69
Violoncelle , Guitare (duo)
67
2 Contrebasses (duo)
62
Quatuor à cordes: 4 violons
59
Violon, Basson (duo)
53
Trio à Cordes: 2 violons, alto
52
Harpe et Piano
45
2 Violons, Piano
38
Alto et Basson
35
Quatuor à cordes : 4 altos
31
Trio à cordes: 3 altos
27
Harpe, Voix
24
Alto, Guitare (duo)
23
Violon, Orgue
22
Harpe (partie séparée)
22
Harpe, Violoncelle (duo)
22
Alto et Harpe
17
2 Violons et Basse continue
15
Flûte, Contrebasse (duo)
15
4 Contrebasses
14
Violoncelle, Orgue
14
Quintette à cordes: 2 violons, 2 altos, violoncelle
14
Violon, Clarinette, Piano (trio)
11
Violoncelle, Orchestre
11
2 Violoncelles, Piano
11
Ensemble de Violons
11
2 Altos, Piano
11
Harpe et mandoline
10
Harpe, Violon, Violoncelle
10
Ensemble d'Altos
7
Quintette à cordes : 2 violons, alto et 2 violoncelles
7
Autoharp
7
Ensemble de Violoncelles
6
3 Harpes
6
Violoncelle, Basse continue
4
Violon, Basse continue
4
Alto, Orgue
4
3 Contrebasses
3
Violon, Tuba (duo)
2
5 Harpes
2
Harpe, Trombone (duo)
2
Violon, Violoncelle, Clarinette
1
4 Harpes
1
Violon, Contrebasse (duo)
1
Harpe et Orgue
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Batterie
5976
Orchestre d'harmonie
5709
Orchestre
2864
Orchestre à Cordes
2346
Cloches
1033
Ensemble Jazz
1022
Ensemble de cuivres
914
Orchestre de chambre
732
Percussion (partie séparée)
462
Fanfare
417
Jazz combo
275
Ensemble de Percussions
265
Percussion
237
Batterie (partie séparée)
179
Marimba
107
Vibraphone
70
Timbales (partie séparée)
63
Xylophone
45
Xylophone, Piano
35
Quintette à Vent
24
Timbales
19
2 Xylophones
11
Ensemble d'École
8
3 Marimbas
8
Piano et Orchestre
8
Quatuor à Vent : 4 instruments à vents
7
Instrumentation Flexible
7
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
5
Quintette de Cuivres: autres combinaisons
3
Trio à Vent: 3 instruments à vents
3
Orchestre, Violon
3
Caisse Claire
3
Bongos
2
Orchestre Symphonique
2
Vibraphone (partie séparée)
2
Cajon
2
Big band
1
Vibraphone et Marimba
1
Marimba, Piano (duo)
1
Voix et Orchestre
1
Conga
1
Instrumentations suivantes
Retracter
AUTRES
Formation musicale - Solfège
50
Théorie de la musique
7
Papeterie
1
Vous avez sélectionné:
Can
Piano et Orchestre
Partitions à imprimer
8 partitions trouvées
<
1
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.57 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Concerto para piano e orquestra n.2 em formas brasileiras
Piano et Orchestre
Composed by Hekel Tavares. 21st Century, Contemporary Classical, South American. Solo Part…
(+)
Composed by Hekel Tavares. 21st Century, Contemporary Classical, South American. Solo Part. 34 pages. Published by Musica Brasilis (S0.240407). - Solo Part - 21st Century,Contemporary Classical,South American - Musica Brasilis
$17.50
15.74 €
#
Piano et Orchestre
#
Hekel Tavares
#
Concerto para piano e orquestra n.2 em formas brasileiras
#
Musica Brasilis
#
SheetMusicPlus
Jazz Brazilian Piano Concerto No 1 in Three Movements (Full Score Only)
Piano et Orchestre
Composed by James Nathaniel Holland. Jazz, Latin Jazz, Bossa Nova, Latin, South American. …
(+)
Composed by James Nathaniel Holland. Jazz, Latin Jazz, Bossa Nova, Latin, South American. Score. 142 pages. Published by James Nathaniel Holland (S0.221491). - Score - Jazz,Latin Jazz,Bossa Nova,Latin,South American - James Nathaniel Holland
$21.95
19.74 €
#
Piano et Orchestre
#
James Nathaniel Holland
#
Jazz Brazilian Piano Concerto No 1 in Three Movements
#
James Nathaniel Holland
#
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…
(+)
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
$200.00
179.84 €
#
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…
(+)
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
3.59 €
#
Piano et Orchestre
#
Stephen DeCesare
#
How Can I Keep From Singing?
#
Exultet Music
#
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 …
(+)
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.
$150.00
134.88 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
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…
(+)
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.
$125.00
112.4 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale