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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)
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AMERICANA
ASIE
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expert
avec audio
avec vidéo
avec play-along
Non classifié
7002
PIANO & CLAVIERS
Piano seul
4943
Piano, Voix
2413
Piano Facile
1862
Piano, Voix et Guitare
1674
Accompagnement Piano
794
1 Piano, 4 mains
515
Orgue
316
Instruments en Do
205
Accordéon
140
2 Pianos, 4 mains
83
Orgue, Piano (duo)
68
Piano Trio: piano, violon, violoncelle
42
Piano grosses notes
36
Clavecin
33
Orgue, Trompette (duo)
19
Piano Quatuor: piano, violon, alto, violoncelle
13
Ligne De Mélodie, Piano
11
Piano (partie séparée)
11
Piano Quintette: piano, 2 violons, alto, violoncelle
8
2 Pianos, 8 mains
7
Piano Quatuor: piano, 2 violons, violoncelle
6
Clavier
6
Accordéon, Voix
6
2 Accordéons
5
1 Piano, 6 mains
5
Accordéon, Piano
4
Ensemble de Pianos
1
Accordéon, Corde(s)
1
Instrument seul et Orgue
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
824
Guitare
414
Ligne De Mélodie, (Paroles) et Accords
295
Paroles et Accords
155
2 Guitares (duo)
155
Piano, Guitare (duo)
148
Ukulele
142
Basse electrique
68
Ensemble de guitares
21
Mandoline
15
4 Guitares (Quatuor)
15
3 Guitares (trio)
10
Guitare (partie séparée)
9
Dulcimer
6
Ukulele Baryton
5
2 Ukuleles
4
Banjo
3
Mandoline, Guitare (duo)
3
2 Dulcimers (duo)
2
Basse électrique (partie séparée)
2
Guitare, Violon, Violoncelle (trio)
1
Partitions De Groupes
1
Instrumentations suivantes
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VOIX
Chorale SATB
1369
Chorale 3 parties
763
Chorale TTBB
353
Chorale 2 parties
286
Chorale SSAA
220
Chorale Unison
163
Voix seule
81
Voix Soprano, Piano
72
Voix haute
32
Voix duo
27
Voix Tenor, Piano
25
Voix Alto, Piano
24
Chorale
22
Voix moyenne, Piano
20
Voix duo, Piano
13
Chorale SSAATTBB
11
Voix Tenor
9
Voix Soprano
6
Voix Mezzo-Soprano, Piano
4
Voix basse
4
Voix basse, Piano
4
Voix Baryton, Piano
3
Voix, Guitare
3
Chorale SSATB
3
Chorale SSAB a cappella
2
Soli, choeur mixte et accompagnement
1
Chorale SSAB, Piano
1
Chorale SATTBB A Cappella
1
Instrumentations suivantes
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VENTS
Quatuor de Saxophones: 4 saxophones
1531
Flûte, Hautbois, Clarinette, Basson
1224
2 Saxophones (duo)
759
Flûte traversière et Piano
739
Clarinette
680
Hautbois, Piano (duo)
617
Saxophone Alto et Piano
598
Flûte traversière
469
Clarinette et Piano
443
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
406
Saxophone Tenor et Piano
382
2 Clarinettes (duo)
369
2 Flûtes traversières (duo)
351
Quintette de Saxophone: 5 saxophones
283
Saxophone Alto
246
Hautbois
225
Quatuor de Clarinettes: 4 clarinettes
214
Saxophone (partie séparée)
211
Flûte à Bec
201
Saxophone
194
Saxophone Soprano et Piano
185
2 Hautbois (duo)
182
Saxophone Baryton, Piano
180
Hautbois (partie séparée)
159
Saxophone, Clarinette (duo)
155
Flûte, Clarinette (duo)
142
3 Saxophones (trio)
126
Clarinette, Violon (duo)
119
Clarinette, Trompette (duo)
112
2 Flûte à bec (duo)
107
Saxophone Tenor
97
Hautbois, Clarinette (duo)
83
Hautbois, Basson (duo)
82
Flûte à bec Soprano
76
Quatuor de Flûtes : 4 flûtes
73
Ensemble de Clarinettes
69
Flûte, Violon
65
Saxophone Soprano
64
Clarinette et Alto
63
Saxophone Baryton
61
Cor anglais, Piano
59
Flûte, Saxophone (duo)
57
Flûte, Alto (duo)
55
3 Clarinettes (trio)
52
Hautbois, Flûte
51
Flûte et Guitare
49
Clarinette (partie séparée)
44
Flûte, Trompette (duo)
43
Trio de Flûtes: 3 flûtes
43
Ensemble de saxophones
42
Quatuor de Flûtes à bec
40
Hautbois, Clarinette, Basson (trio d'anches)
36
Clarinette Basse, Piano
34
Flûte, Hautbois, Clarinette (trio)
34
Flûte, Hautbois (duo)
33
Quintette de Clarinettes: 5 clarinettes
30
Cor Anglais
30
2 Flûtes traversières, Piano
27
Clarinette, Basson (duo)
26
Quintette de Flûte : 5 flûtes
25
Hautbois, Guitare (duo)
24
Piccolo, Piano
24
Ensemble de Flûtes
23
Flûte à bec Alto
21
Flûte à bec Tenor
20
Flute (partie séparée)
20
Flûte à bec Soprano, Piano
18
5 Flûtes à bec
18
Flûte à bec Alto, Piano
18
Hautbois, violon (duo)
17
Flûte, Violoncelle
15
Flûte, Clarinette et Basson
15
Saxophone et Guitare
14
Flûte, Clarinette, Cor, Basson (Quartet)
14
Clarinette, Trombone (duo)
13
3 Flûtes à bec (trio)
13
Flûte, Basson et Piano
11
Flûte, Hautbois, Basson
11
Ensemble De Flûte à bec
10
Flûte à Bec, Piano
10
Flûte, Clarinette, Piano (trio)
10
Harmonica
10
Clarinette, Guitare (duo)
9
Clarinette, Violoncelle (duo)
9
Flûte, Violoncelle, Piano (trio)
9
Flûte, Trombone (duo)
8
Hautbois, Violoncelle
8
Ocarina
7
Hautbois et alto (duo)
6
Instruments en Mib
6
Flûte traversière, Basse continue
5
Clarinette, Basson, Piano (trio)
5
Piccolo
5
Flûte, Tuba (duo)
5
Flute, harpe et violon
4
2 Clarinettes, Piano
4
Flûte, Alto et Piano
4
Flûte traversière, Orgue (duo)
4
4 Hautbois
4
Flûte irlandaise
4
Flûte, Violon, Piano
3
Saxophone et Orgue
3
Hautbois, Clarinette et Piano (Trio)
3
Hautbois, Violon, Piano
3
2 Saxophones, Piano
3
Clarinette, Harpe (duo)
3
Flûte, Hautbois, Piano (trio)
3
Flûte, Violon et Violoncelle
3
2 Cors Anglais Et Pianoforte
3
Hautbois, trombone (duo)
3
3 Hautbois
2
Hautbois, Basson et Piano
2
Clarinette Basse
2
Flûte, Harpe et Violoncelle
2
Flûte et Trio à cordes
2
Flûte, Hautbois, Violon
2
Flûte, Violon, Violoncelle et Piano
2
Ensemble de Hautbois
2
Clarinette, Contrebasse (duo)
2
Clarinette, Tuba
2
Clarinette, Violoncelle, Piano (trio)
2
Hautbois, Harpe
1
Flûte et Quatuor à Cordes
1
Ensemble à vent
1
Cor anglais, Guitare (duo)
1
Flûte, Clarinette, Violon (trio)
1
2 Flûtes à bec, Guitare
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
2 Flûtes, Basse continue
1
Flûte à bec Soprano, Basse continue
1
2 Hautbois, Piano
1
Clarinette, Alto et Piano (trio)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Instrumentations suivantes
Retracter
CUIVRES
Quatuor de Cuivres : 2 trompettes, trombone, tuba
781
Trombone et Piano
699
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
527
Trompette, Piano
483
Trompette
413
Cor et Piano
375
Quatuor de Cuivres
304
Trombone
294
2 Trombones (duo)
250
Tuba et Piano
247
2 Trompettes (duo)
203
Quatuor de cuivres: 4 trombones
189
Cor
181
Ensemble de Trombones
167
Quatuor de Cuivres: 2 trompettes, Cor, trombone
165
Tuba
140
Euphonium, Piano (duo)
131
Trompette, Saxophone (duo)
123
2 Cors (duo)
113
Trompette, Trombone (duo)
102
Trompette (partie séparée)
96
Trio de Cuivres
64
2 Tubas (duo)
60
Cor anglais, Piano
59
Trombone (partie séparée)
43
Euphonium
40
Quatuor de cuivres: 4 cors
40
4 Tubas
35
Trompette, Cor (duo)
32
Cor Anglais
30
Trombone basse et Piano
29
Trombone basse
28
Ensemble de Cors
26
3 Trombones (trio)
20
2 Euphoniums (duo)
20
Ensemble de Trompettes
20
2 Euphoniums et 2 Tubas
19
Cor (partie séparée)
19
Quatuor de cuivres: 4 trompettes
17
Trombone, Cor (duo)
15
Tuba et Orgue
14
Bass Clef Instruments
13
Euphonium, Tuba (duo)
11
Trombone, Tuba (duo)
10
Tuba (partie séparée)
8
3 Tubas (trio)
8
3 Trompettes (trio)
7
Cor, Tuba (duo)
7
Trombone et orchestre
6
Trompette, Tuba (duo)
6
2 Trompettes, Clavier (piano ou orgue)
6
3 Cors (trio)
5
Trombone, Violon (duo)
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Trompette, Basson (duo)
4
Trombone, Orgue
4
3 Euphoniums
3
Instruments en Sib
3
2 Cors Anglais Et Pianoforte
3
Clarinette, Cor (duo)
2
Trompette, Violoncelle (duo)
2
Ensemble de Tubas
2
Cor anglais, Guitare (duo)
1
Trompette et Guitare
1
Cor et Orgue
1
Trompette, violon (duo)
1
Cor, Trompette, Trombone (trio)
1
Cornet et orchestre
1
Cor et Basson (duo)
1
Trompette, Trombone, Piano
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1915
Violon et Piano
724
Violon
640
Violoncelle, Piano
562
Alto, Piano
547
Alto seul
350
2 Violons (duo)
334
Violoncelle
288
2 Altos (duo)
221
2 Violoncelles (duo)
219
Harpe
187
Violoncelle (partie séparée)
173
Violon, Violoncelle (duo)
149
Violon, Alto (duo)
140
Quintette à cordes: 2 violons, alto, violoncelle, basse
138
Contrebasse, Piano (duo)
132
2 Harpes (duo)
127
Trio à Cordes: violon, alto, violoncelle
111
Contre Basse
99
Violon (partie séparée)
83
Alto (partie séparée)
60
2 Contrebasses (duo)
33
Violon, Guitare (duo)
29
Alto, Violoncelle (duo)
29
Contrebasse (partie séparée)
27
Trio à Cordes: 2 violons, violoncelle
25
Piano Trio: Violon, Alto, Piano
25
4 Violoncelles
24
Trio à cordes: 3 violins
21
Trio à Cordes: 3 violoncelles
20
Harpe, Flûte (duo)
19
Violoncelle , Guitare (duo)
18
Trio à cordes: 3 altos
14
Quatuor à cordes: 4 violons
13
Quatuor à cordes : 4 altos
12
Violoncelle, Contrebasse (duo)
10
Quintette à cordes: 2 violons, 2 altos, violoncelle
9
Violon, Basson (duo)
9
Alto, Guitare (duo)
9
Ensemble d'Altos
8
Ensemble de Violons
7
Harpe, Violon (duo)
7
Trio à cordes
6
Harpe, Violon, Violoncelle
5
Ensemble de Violoncelles
5
Harpe, Violoncelle (duo)
4
Flûte, Contrebasse (duo)
4
Alto et Basson
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
4
Harpe (partie séparée)
4
Alto et Harpe
3
Violoncelle, Orchestre
3
Violon, Tuba (duo)
3
Trio à Cordes: 2 violons, alto
3
Violon, Clarinette, Piano (trio)
2
Harpe, Voix
2
2 Violons, Piano
1
2 Altos, Piano
1
4 Contrebasses
1
Violon, Basse continue
1
Alto, Orgue
1
Violon, Trompette et Piano
1
Harpe, Trombone (duo)
1
Violoncelle, Orgue
1
2 Violoncelles, Piano
1
Harpe et Piano
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
927
Orchestre
270
Orchestre à Cordes
262
Cloches
213
Ensemble de cuivres
176
Ensemble Jazz
152
Orchestre de chambre
82
Batterie
59
Ensemble de Percussions
41
Fanfare
40
Percussion (partie séparée)
29
Marimba
26
Jazz combo
21
Xylophone
15
Batterie (partie séparée)
13
Xylophone, Piano
13
Percussion
12
Ensemble d'École
8
Timbales
7
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
6
Vibraphone
5
Caisse Claire
5
Xylophone ou Marimba ou Vibraphone
4
Piano et Orchestre
3
2 Xylophones
2
Quintette à Vent
2
2 Marimbas
1
Instrumentation Flexible
1
Quatuor à Vent : 4 instruments à vents
1
Big band
1
Instrumentations suivantes
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AUTRES
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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
47.87 €
#
Piano et Orchestre
#
Gyorgy Ligeti
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Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Diamond Dust
Piano et Orchestre
By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and p…
(+)
By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and parts. 19 pages. Roger Hudson Music #5219395. Published by Roger Hudson Music
Featured on Jeff Beck\'s Blow by Blow album. Composed by Bernie Holland. This arrangement by Roger Hudson for the Music City Youth Orchestra and electric violinist Tracy Silverman. MCYO directed by Walter Bitner. Performed at Schermerhorn Symphony Center, Nashville, May 2011 .
$19.99
18.41 €
#
Piano et Orchestre
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Jeff Beck
#
Roger Hudson
#
Diamond Dust
#
Roger Hudson Music
#
SheetMusicPlus
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)
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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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