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FLUTE DE PA…
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11
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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
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METHODE : ETUDES
METHODE : TECHNIQUES
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OLD TIME - EARLY ROC…
OPERA
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POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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RAGTIME
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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
28452
PIANO & CLAVIERS
Piano seul
39825
Piano, Voix
8791
Piano, Voix et Guitare
6443
Piano Facile
5917
Piano grosses notes
3351
Orgue
2533
Accordéon
2343
Instruments en Do
1387
1 Piano, 4 mains
753
Accompagnement Piano
487
Piano Trio: piano, violon, violoncelle
210
2 Pianos, 4 mains
146
Piano (partie séparée)
127
Orgue, Trompette (duo)
89
Piano Quatuor: piano, 2 violons, violoncelle
72
Piano Quatuor: piano, violon, alto, violoncelle
70
Ligne De Mélodie, Piano
69
Clavier
61
Piano Quintette: piano, 2 violons, alto, violoncelle
59
Orgue, Piano (duo)
40
Accordéon, Voix
23
Clavecin
23
1 Piano, 6 mains
22
Instrument seul et Orgue
16
2 Pianos, 8 mains
4
Ensemble d'Accordéons
4
Tous Les Instruments
3
Orgue, Voix
3
Accordéon, Piano
2
Piano Quintette: piano, violon, alto, violoncelle, contre basse
2
Ensemble de Pianos
2
Concertina
1
Accordéon, Corde(s)
1
2 Orgues (duo)
1
Instrumentations suivantes
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GUITARES
Guitare
5381
Guitare notes et tablatures
4394
Basse electrique
3792
Ligne De Mélodie, (Paroles) et Accords
1769
Ukulele
1202
Paroles et Accords
623
Piano, Guitare (duo)
214
2 Guitares (duo)
136
Guitare (partie séparée)
135
Banjo
117
Mandoline
95
4 Guitares (Quatuor)
82
Dulcimer
73
Mandoline, Piano (duo)
46
Ensemble de guitares
37
Basse électrique (partie séparée)
33
3 Guitares (trio)
33
Ukulele Baryton
15
2 Dulcimers (duo)
13
Dobro
10
Partitions De Groupes
10
Ensemble de Ukulélés
8
Guitare, Violon, Violoncelle (trio)
7
Mandoline, Guitare (duo)
7
Orchestre à Plectres
3
3 Dulcimers (trio)
2
2 Mandolines (duo)
2
Guitare Pedal Steel
1
2 Ukuleles
1
2 Guitares, Clarinette (trio)
1
Instrumentations suivantes
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VOIX
Chorale SATB
8716
Voix seule
5879
Chorale 2 parties
3140
Chorale 3 parties
3098
Chorale Unison
1304
Chorale TTBB
1022
Voix duo, Piano
949
Chorale SSAA
624
Chorale
517
Voix duo
434
Voix haute
173
Chorale SATTB
80
Voix Soprano, Piano
67
Chorale SSATBB
60
Voix Alto, Piano
45
Voix moyenne, Piano
40
Voix Tenor, Piano
26
Voix basse, Piano
24
Voix Tenor
21
Chorale SAATB A Cappella
18
Voix Mezzo-Soprano, Piano
18
Chorale SSAATTBB
17
Chorale SSATB
17
Voix basse
13
Soli, choeur mixte et accompagnement
12
Chorale SSATTB
12
Voix Soprano
12
Voix, Guitare
11
Voix Baryton, Piano
10
Chorale SATTBB, Clavier
8
Chorale SSAB, Piano
5
Chorale, Orgue
4
Chorale SATBB
3
Voix duo, Orgue
2
Voix Moyenne
2
Voix Baryton
2
Chorale SSAB a cappella
1
Chorale SATTBB A Cappella
1
Male Voice
1
Chorale SSAATB
1
Instrumentations suivantes
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VENTS
Saxophone
16034
Flûte traversière
8523
Clarinette
8173
Saxophone Alto
2085
Flûte traversière et Piano
2042
Saxophone (partie séparée)
1832
Saxophone Tenor
1450
Flûte à Bec
1383
Hautbois, Piano (duo)
1283
2 Saxophones (duo)
1256
Quatuor de Saxophones: 4 saxophones
1234
Saxophone Alto et Piano
1183
Clarinette et Piano
1040
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
906
Saxophone Tenor et Piano
900
Quatuor de Clarinettes: 4 clarinettes
826
Flûte, Hautbois, Clarinette, Basson
808
Hautbois
782
2 Flûtes traversières (duo)
744
2 Clarinettes (duo)
722
Flûte à bec Soprano
691
Clarinette (partie séparée)
646
Saxophone Soprano
606
Saxophone Soprano et Piano
579
Hautbois (partie séparée)
498
Quintette de Saxophone: 5 saxophones
408
Quatuor de Flûtes : 4 flûtes
400
Flûte, Clarinette (duo)
353
3 Clarinettes (trio)
344
3 Saxophones (trio)
298
Flute (partie séparée)
295
2 Flûte à bec (duo)
290
Ensemble de Clarinettes
253
Saxophone, Clarinette (duo)
239
Clarinette, Violon (duo)
226
2 Hautbois (duo)
224
Trio de Flûtes: 3 flûtes
217
Hautbois, Basson (duo)
209
Saxophone Baryton, Piano
209
Ensemble de Flûtes
198
Flûte et Guitare
180
Cor anglais, Piano
179
Quatuor de Flûtes à bec
173
Flûte, Violon
170
Ensemble de saxophones
160
Quintette de Clarinettes: 5 clarinettes
155
Clarinette, Trompette (duo)
154
Hautbois, Clarinette (duo)
154
Harmonica
148
Clarinette et Alto
134
Flûte à bec Soprano, Piano
134
Flûte, Alto (duo)
117
Flûte, Clarinette et Basson
109
Flûte, Violoncelle
109
Flûte, Hautbois, Clarinette (trio)
106
3 Flûtes à bec (trio)
99
Clarinette, Basson (duo)
95
Flûte, Saxophone (duo)
94
Hautbois, Flûte
93
Flûte, Hautbois, Basson
91
Quintette de Flûte : 5 flûtes
90
Flûte, Violon et Violoncelle
86
Flûte à bec Alto
79
Flûte irlandaise
68
Cor Anglais
67
Flûte, Trompette (duo)
61
Clarinette Basse, Piano
58
Clarinette, Violoncelle (duo)
56
Ocarina
56
Hautbois, Clarinette, Basson (trio d'anches)
56
Instruments en Mib
51
2 Flûtes traversières, Piano
51
5 Flûtes à bec
50
Ensemble De Flûte à bec
50
Flûte, Harpe et Violoncelle
46
2 Clarinettes, Basson
45
Clarinette, Guitare (duo)
44
Flûte, Hautbois (duo)
41
Clarinette, Harpe (duo)
40
Flûte à Bec, Piano
36
Flûte, Clarinette, Piano (trio)
35
Flûte à bec, Guitare (duo)
33
Flûte, Violon, Piano
32
Flûte, Violoncelle, Piano (trio)
31
Saxophone Baryton
28
Flûte à bec Alto, Piano
26
Hautbois, Violoncelle
26
Piccolo
26
Flûte à bec Tenor
24
2 Clarinettes, Piano
21
Piccolo, Piano
20
Clarinette, Violoncelle, Piano (trio)
20
Flûte, Basson et Piano
20
2 Saxophones, Piano
20
4 Hautbois
19
Clarinette Basse
18
Saxophone et Piano
15
Saxophone et Guitare
15
Flûte, Trombone (duo)
14
Flûte, Hautbois, Piano (trio)
13
3 Hautbois
13
Saxophone et Orgue
13
Cor anglais, Guitare (duo)
12
Quintette de Clarinette: Clarinette, Quatuor à Cordes
12
Flûte, Hautbois, Violon
11
Clarinette, Trombone (duo)
10
Flûte à bec Soprano, Basse continue
10
Flûte, Violon, Violoncelle et Piano
10
Hautbois, Guitare (duo)
10
Flute, harpe et violon
10
Flûte, Clarinette, Violon (trio)
9
Hautbois, Harpe
8
Flûte, Alto et Piano
8
Clarinette, Basson, Piano (trio)
8
Flûte et Trio à cordes
8
Hautbois, trombone (duo)
7
Flûte traversière, Orgue (duo)
7
Saxophone et Harpe
7
Hautbois, violon (duo)
7
Hautbois et alto (duo)
7
Hautbois, Basson et Piano
6
Saxophone et violoncelle
6
Flûte, trombone et piano
6
Clarinette, Orchestre
6
2 Cors Anglais Et Pianoforte
6
Clarinette, trompette et piano
6
Ensemble de Hautbois
6
Flûte, Clarinette, Cor, Basson (Quartet)
5
Flûte, Alto et Violoncelle
5
Flûte traversière, Basse continue
4
Clarinette, Alto et Piano (trio)
4
2 Hautbois, Piano
4
Flûte à bec Alto, Basse continue
4
Flûte, alto et harpe
4
Flute, Cor (duo)
3
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
Clarinette, Tuba
3
Cornemuse
3
Flûte et Quatuor à Cordes
3
Flûte, Violoncelle, Guitare
3
Hautbois, Violoncelle et Piano
3
Flûte, Violon, Guitare
3
Ensemble à vent
3
Flûte à bec, Harpe
2
Clarinette, Orgue
2
Flûte de Pan
2
Saxophone, Violon (duo)
2
Clarinette, Contrebasse (duo)
2
Flûte, Tuba (duo)
2
2 Flûtes à bec, Piano
2
Harmonica, Piano
2
Flute, alto, violoncelle et guitare
1
Hautbois, Quatuor à cordes
1
Flûte traversière, Orchestre
1
2 clarinettes, 2 bassons
1
Cor anglais et Harpe (duo)
1
Melodica
1
2 Harmonicas
1
2 Flûtes traversières, Guitare
1
Hautbois, Violon, Piano
1
2 Hautbois et Basson
1
Saxophone, Basson (duo)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
2 Flûtes traversières, Harpe
1
Instrumentations suivantes
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CUIVRES
Trompette
7054
Trombone
6267
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1301
Trompette, Piano
994
Trombone et Piano
987
Cor
968
Trompette (partie séparée)
897
Trombone (partie séparée)
830
Quatuor de Cuivres : 2 trompettes, trombone, tuba
614
Cor et Piano
590
Tuba
534
Euphonium
433
2 Trompettes (duo)
390
2 Trombones (duo)
386
Cor (partie séparée)
357
Quatuor de Cuivres
354
Quatuor de Cuivres: 2 trompettes, Cor, trombone
264
Tuba et Piano
234
Trompette, Trombone (duo)
213
Tuba (partie séparée)
206
Quatuor de cuivres: 4 trombones
192
Cor anglais, Piano
179
Trompette, Saxophone (duo)
170
2 Cors (duo)
155
Euphonium, Piano (duo)
143
Ensemble de Trombones
109
Quatuor de cuivres: 4 cors
96
Trompette, Cor (duo)
80
Ensemble de Trompettes
79
2 Tubas (duo)
79
2 Euphoniums et 2 Tubas
72
Bass Clef Instruments
71
Cor Anglais
67
Trio de Cuivres
57
4 Tubas
55
Instruments en Sib
55
Quatuor de cuivres: 4 trompettes
48
3 Trombones (trio)
32
Trombone, Tuba (duo)
30
Ensemble de Cors
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
Tuba ou Euphonium ou Saxhorn
13
Instruments en Fa
13
Cor anglais, Guitare (duo)
12
Trompette, Violoncelle (duo)
11
Tuba et Orgue
11
Quatuor de cuivres: 2 trompettes, 2 trombones
10
3 Cors (trio)
10
Trombone, Orgue
10
2 Trompettes, Clavier (piano ou orgue)
9
Trompette, Harpe
9
3 Tubas (trio)
9
Trompette, Trombone, Piano
9
Cor et Harpe
9
Trombone, Violon (duo)
8
Cor, Violoncelle (duo)
8
Trombone basse et Piano
8
Cor, Tuba (duo)
7
Cor et Basson (duo)
6
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
6
Trombone, Alto (duo)
6
2 Cors Anglais Et Pianoforte
6
2 Trombones, Piano
6
Trompette, violon (duo)
6
Cor et Orgue
5
Trompette et Guitare
5
Trompette, Basson (duo)
5
Trombone et orchestre
4
Clarinette, Cor (duo)
3
2 Cors, Piano
3
Trombone basse
2
Trompette, Violoncelle et Piano
2
Cornet et orchestre
2
Bugle
2
Trompette, Orchestre
2
Ensemble de Tubas
2
3 Euphoniums
2
Trompette, Euphonium (duo)
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
4 Euphoniums
1
Cor, Violoncelle et Piano
1
Cor anglais et Harpe (duo)
1
Cor, Trompette, Trombone (trio)
1
Instrumentations suivantes
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CORDES
Violon
6027
Quatuor à cordes: 2 violons, alto, violoncelle
4260
Violoncelle
3086
Alto seul
2888
Violon et Piano
2611
Harpe
2213
Violoncelle, Piano
1454
Alto, Piano
1315
Violon, Violoncelle (duo)
1124
Trio à Cordes: violon, alto, violoncelle
883
Violoncelle (partie séparée)
849
2 Violons (duo)
745
Violon (partie séparée)
596
Violon, Alto (duo)
551
2 Violoncelles (duo)
493
Contre Basse
376
2 Altos (duo)
371
Harpe, Flûte (duo)
357
Contrebasse (partie séparée)
342
Quintette à cordes: 2 violons, alto, violoncelle, basse
341
Alto (partie séparée)
323
Trio à Cordes: 2 violons, violoncelle
311
Contrebasse, Piano (duo)
244
Alto, Violoncelle (duo)
187
2 Harpes (duo)
156
Harpe, Violon (duo)
143
4 Violoncelles
131
Piano Trio: Violon, Alto, Piano
118
Violon, Guitare (duo)
107
Trio à Cordes: 3 violoncelles
82
Trio à cordes
71
Trio à cordes: 3 violins
71
Violoncelle, Contrebasse (duo)
69
2 Contrebasses (duo)
62
Violoncelle , Guitare (duo)
59
Quatuor à cordes: 4 violons
56
Trio à Cordes: 2 violons, alto
50
Violon, Basson (duo)
48
Harpe et Piano
45
2 Violons, Piano
38
Alto et Basson
31
Quatuor à cordes : 4 altos
31
Trio à cordes: 3 altos
27
Violon, Orgue
24
Harpe, Voix
24
Alto, Guitare (duo)
23
Harpe (partie séparée)
22
Harpe, Violoncelle (duo)
21
Alto et Harpe
17
2 Violons et Basse continue
15
Flûte, Contrebasse (duo)
15
Violoncelle, Orgue
14
4 Contrebasses
14
Quintette à cordes: 2 violons, 2 altos, violoncelle
13
2 Violoncelles, Piano
11
2 Altos, Piano
11
Violoncelle, Orchestre
11
Ensemble de Violons
11
Violon, Clarinette, Piano (trio)
10
Harpe et mandoline
10
Harpe, Violon, Violoncelle
10
Ensemble d'Altos
7
Autoharp
7
3 Harpes
6
Ensemble de Violoncelles
6
Violoncelle, Basse continue
4
Alto, Orgue
4
Violon, Basse continue
4
3 Contrebasses
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
5 Harpes
2
Harpe, Trombone (duo)
2
Violon, Tuba (duo)
2
Violon, Contrebasse (duo)
1
Violon, Violoncelle, Clarinette
1
Harpe et Orgue
1
4 Harpes
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Batterie
5964
Orchestre d'harmonie
5590
Orchestre
2819
Orchestre à Cordes
2146
Ensemble Jazz
984
Cloches
976
Ensemble de cuivres
914
Orchestre de chambre
733
Percussion (partie séparée)
463
Ensemble de Percussions
266
Jazz combo
260
Fanfare
256
Percussion
237
Batterie (partie séparée)
182
Marimba
98
Timbales (partie séparée)
63
Vibraphone
62
Xylophone
45
Xylophone, Piano
28
Quintette à Vent
24
Timbales
18
3 Marimbas
8
Ensemble d'École
8
Piano et Orchestre
8
Instrumentation Flexible
7
Quatuor à Vent : 4 instruments à vents
7
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
5
Orchestre, Violon
3
Trio à Vent: 3 instruments à vents
3
Orchestre Symphonique
3
Quintette de Cuivres: autres combinaisons
3
Caisse Claire
3
Vibraphone (partie séparée)
2
Bongos
2
Cajon
2
Big band
1
Conga
1
Marimba, Piano (duo)
1
Vibraphone et Marimba
1
Voix et Orchestre
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
50
Théorie de la musique
8
Papeterie
1
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Piano et Orchestre
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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.1 €
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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
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Musica Brasilis
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James Nathaniel Holland
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James Nathaniel Holland
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SheetMusicPlus
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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.
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www.mattrileymusic.com
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SheetMusicPlus
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Piano et Orchestre
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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.
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Piano et Orchestre
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Matt Riley
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www.mattrileymusic.com
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SheetMusicPlus
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