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20971
PIANO & CLAVIERS
Piano seul
36464
Piano, Voix et Guitare
6634
Piano Facile
6252
Piano, Voix
5966
Piano grosses notes
3806
Orgue
2769
Accordéon
2268
Instruments en Do
1078
1 Piano, 4 mains
802
Accompagnement Piano
544
Piano (partie séparée)
219
Piano Trio: piano, violon, violoncelle
192
2 Pianos, 4 mains
125
Clavier
86
Piano Quatuor: piano, 2 violons, violoncelle
65
Ligne De Mélodie, Piano
64
Instrument seul et Orgue
60
Orgue, Piano (duo)
48
Piano Quatuor: piano, violon, alto, violoncelle
43
Orgue, Trompette (duo)
32
1 Piano, 6 mains
32
Accordéon, Voix
30
Clavecin
28
Orgue, Voix
16
Piano Quintette: piano, 2 violons, alto, violoncelle
16
2 Pianos, 8 mains
3
Tous Les Instruments
2
Ensemble de Pianos
1
2 Accordéons
1
2 Orgues (duo)
1
Instrumentations suivantes
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GUITARES
Guitare
4966
Guitare notes et tablatures
4806
Basse electrique
3579
Ligne De Mélodie, (Paroles) et Accords
2585
Ukulele
1608
Paroles et Accords
809
Guitare (partie séparée)
249
Piano, Guitare (duo)
177
Banjo
105
2 Guitares (duo)
82
Ensemble de guitares
57
Dulcimer
47
Mandoline
38
Basse électrique (partie séparée)
36
Ensemble de Ukulélés
34
4 Guitares (Quatuor)
33
3 Guitares (trio)
15
2 Ukuleles
10
2 Dulcimers (duo)
7
Guitare Pedal Steel
5
Ukulele Baryton
4
Guitare, Flûte, Clarinette
2
Guitare, Violon, Violoncelle (trio)
2
Mandoline, Guitare (duo)
2
Partitions De Groupes
2
Guitare Tab, Voix, Basse, Batterie
1
2 Mandolines (duo)
1
3 Dulcimers (trio)
1
Orchestre à Plectres
1
Instrumentations suivantes
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VOIX
Chorale SATB
6943
Voix seule
5794
Chorale 3 parties
3041
Chorale 2 parties
2269
Chorale TTBB
1095
Chorale Unison
925
Voix duo, Piano
566
Chorale SSAA
542
Chorale
502
Voix duo
235
Voix haute
103
Voix Soprano, Piano
66
Voix Tenor, Piano
52
Voix Alto, Piano
36
Voix moyenne, Piano
28
Voix Tenor
28
Voix basse, Piano
27
Chorale SSATBB
18
Voix, Guitare
17
Chorale SSATB
16
Chorale SSAATTBB
14
Voix Mezzo-Soprano, Piano
10
Chorale SSATTB
10
Voix basse
10
Voix Soprano
9
Chorale SSAB, Piano
7
Soli, choeur mixte et accompagnement
4
Chorale SSAB a cappella
3
Chorale SSAATB
2
Chorale SATBB
2
Chorale SAATB A Cappella
2
Chorale SATTBB A Cappella
1
Chorale SATTB
1
Voix haute, Piano
1
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VENTS
Saxophone
16031
Flûte traversière
8539
Clarinette
8100
Saxophone Alto
2231
Saxophone (partie séparée)
1887
Saxophone Tenor
1679
Flûte traversière et Piano
1599
2 Saxophones (duo)
1306
Flûte à Bec
1233
Quatuor de Saxophones: 4 saxophones
1170
Hautbois, Piano (duo)
1091
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
978
Saxophone Alto et Piano
962
Clarinette et Piano
931
Flûte, Hautbois, Clarinette, Basson
923
Saxophone Tenor et Piano
835
Clarinette (partie séparée)
812
2 Flûtes traversières (duo)
812
Hautbois
801
Quatuor de Clarinettes: 4 clarinettes
661
2 Clarinettes (duo)
644
Saxophone Soprano
614
Hautbois (partie séparée)
545
Saxophone Soprano et Piano
415
3 Saxophones (trio)
407
Flute (partie séparée)
399
Quintette de Saxophone: 5 saxophones
371
Quatuor de Flûtes : 4 flûtes
357
Flûte, Clarinette (duo)
322
3 Clarinettes (trio)
304
Saxophone Baryton, Piano
228
2 Flûte à bec (duo)
200
2 Hautbois (duo)
199
Trio de Flûtes: 3 flûtes
192
Hautbois, Basson (duo)
185
Ensemble de Flûtes
174
Ensemble de Clarinettes
162
Clarinette, Violon (duo)
160
Quintette de Clarinettes: 5 clarinettes
158
Cor anglais, Piano
155
Saxophone, Clarinette (duo)
140
Hautbois, Clarinette (duo)
131
Ensemble de saxophones
126
Flûte, Clarinette et Basson
108
Flûte, Violon
100
Clarinette, Trompette (duo)
95
Flûte, Hautbois, Clarinette (trio)
93
Clarinette, Basson (duo)
84
Flûte, Violoncelle
77
Flûte, Alto (duo)
75
Flûte et Guitare
74
Flûte à bec Soprano
73
Clarinette Basse, Piano
71
Flûte, Hautbois, Basson
71
Clarinette et Alto
70
Hautbois, Flûte
68
Harmonica
67
Hautbois, Clarinette, Basson (trio d'anches)
66
Flûte, Saxophone (duo)
63
Quintette de Flûte : 5 flûtes
56
Saxophone Baryton
54
Flûte, Hautbois (duo)
51
Flûte, Violon et Violoncelle
49
Instruments en Mib
47
Quatuor de Flûtes à bec
45
Hautbois, Violoncelle
43
Flûte, Clarinette, Piano (trio)
43
Clarinette, Violoncelle (duo)
43
Flûte, Trompette (duo)
42
Clarinette, Harpe (duo)
42
Cor Anglais
38
2 Flûtes traversières, Piano
36
2 Clarinettes, Piano
35
Flûte, Violon, Piano
35
Flûte à bec Alto
35
Flûte, Trombone (duo)
31
Flûte, Violoncelle, Piano (trio)
30
Flûte, Basson et Piano
30
Hautbois, Harpe
27
Hautbois, violon (duo)
26
Piccolo
26
Saxophone et Harpe
24
2 Saxophones, Piano
24
Clarinette, Violoncelle, Piano (trio)
23
Hautbois et alto (duo)
22
Clarinette, Guitare (duo)
21
3 Hautbois
21
Ensemble De Flûte à bec
21
Piccolo, Piano
19
Flûte à bec Tenor
18
Hautbois, trombone (duo)
18
Clarinette, Tuba
18
Clarinette Basse
17
Clarinette, Trombone (duo)
17
Saxophone et Orgue
16
Flûte à bec Alto, Piano
16
Ocarina
16
Flûte, Alto et Piano
15
Flûte, Violon, Violoncelle et Piano
15
Flûte, Tuba (duo)
14
Flûte, Hautbois, Piano (trio)
13
Flûte, trombone et piano
13
2 Clarinettes, Basson
13
Flûte à bec Soprano, Piano
13
3 Flûtes à bec (trio)
12
Saxophone et Guitare
9
Clarinette, Alto et Piano (trio)
9
Flûte à Bec, Piano
8
Saxophone, Tuba (duo)
8
Hautbois, Guitare (duo)
8
5 Flûtes à bec
8
Clarinette, trompette et piano
8
Clarinette, Basson, Piano (trio)
8
4 Hautbois
8
Flûte, Hautbois, Violon
7
Saxophone, Basson (duo)
6
Harmonica, Piano
4
Saxophone et violoncelle
4
Ensemble à vent
4
Flûte traversière, Orgue (duo)
4
Flûte, Clarinette, Violon (trio)
4
Flute, Cor (duo)
4
Flûte et Trio à cordes
3
Clarinette, Orgue
3
2 Hautbois et Basson
3
Clarinette, Contrebasse (duo)
3
Flûte irlandaise
3
Flûte, Violoncelle, Guitare
3
Flûte, Harpe et Violoncelle
3
Saxophone et Piano
2
2 Flûtes à bec, Piano
2
Ensemble de Hautbois
2
Cornemuse
2
Hautbois, Violon, Piano
2
Flûte de Pan
2
2 Cors Anglais Et Pianoforte
2
Flûte, Clarinette, Cor, Basson (Quartet)
2
Cor anglais et Harpe (duo)
2
Flute, harpe et violon
2
Hautbois, Basson et Piano
2
Hautbois, Clarinette, Basson et Piano
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Flûte, Guitare, Piano
1
Cor anglais, Guitare (duo)
1
Flûte, alto et harpe
1
Flûte, Alto et Violoncelle
1
Flûte et Quatuor à Cordes
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
2 Hautbois, Piano
1
Flûte à bec, Guitare (duo)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
2 Flûtes traversières, Guitare
1
Saxophone, Violon (duo)
1
Clarinette, Orchestre
1
2 Flûtes traversières, Harpe
1
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CUIVRES
Trompette
7252
Trombone
6399
Cor
1238
Trompette (partie séparée)
1111
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1048
Trombone (partie séparée)
990
Trompette, Piano
877
Trombone et Piano
786
Quatuor de Cuivres : 2 trompettes, trombone, tuba
654
Tuba
549
Cor et Piano
497
2 Trompettes (duo)
421
Euphonium
406
Cor (partie séparée)
397
2 Trombones (duo)
389
Quatuor de Cuivres
337
Quatuor de Cuivres: 2 trompettes, Cor, trombone
287
Tuba et Piano
280
Trompette, Trombone (duo)
267
Tuba (partie séparée)
259
2 Cors (duo)
192
Cor anglais, Piano
155
Quatuor de cuivres: 4 trombones
154
Trompette, Saxophone (duo)
127
Bass Clef Instruments
114
Trio de Cuivres
107
Trompette, Cor (duo)
100
Euphonium, Piano (duo)
100
Trompette, Tuba (duo)
89
Quatuor de cuivres: 4 cors
82
2 Tubas (duo)
78
Instruments en Sib
67
Trombone, Tuba (duo)
64
2 Euphoniums et 2 Tubas
50
Ensemble de Trombones
43
Cor Anglais
38
Quatuor de cuivres: 4 trompettes
36
3 Trompettes (trio)
34
2 Euphoniums (duo)
30
Cor et Harpe
27
Ensemble de Trompettes
27
Trombone, Violon (duo)
27
3 Trombones (trio)
24
Trompette, Harpe
22
Tuba et Orgue
22
Cor, Tuba (duo)
20
4 Tubas
18
Trombone, Orgue
18
Trombone basse
17
Ensemble de Cors
15
Quatuor de cuivres: 2 trompettes, 2 trombones
15
2 Trompettes, Clavier (piano ou orgue)
15
Euphonium, Tuba (duo)
14
3 Cors (trio)
13
Trombone, Cor (duo)
13
Tuba ou Euphonium ou Saxhorn
12
Trompette, Basson (duo)
11
Trompette, Violoncelle (duo)
11
Cor, Violoncelle (duo)
10
Clarinette, Cor (duo)
8
Trompette, Trombone, Piano
8
Cor et Orgue
6
Trombone basse et Piano
6
Cor et Basson (duo)
6
Cornet A Pistons
4
4 Euphoniums
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Trombone, Alto (duo)
3
Instruments en Fa
3
Trompette, Violoncelle et Piano
3
3 Tubas (trio)
3
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
2
2 Cors, Piano
2
2 Cors Anglais Et Pianoforte
2
Cor anglais et Harpe (duo)
2
Cor, Trompette, Trombone (trio)
1
Trompette et Guitare
1
Cor anglais, Guitare (duo)
1
Trompette, violon (duo)
1
Ensemble de Tubas
1
Cornet et Piano
1
Instrumentations suivantes
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CORDES
Violon
5691
Violoncelle
3241
Alto seul
3201
Quatuor à cordes: 2 violons, alto, violoncelle
3197
Violon et Piano
2050
Violoncelle, Piano
1278
Alto, Piano
1168
Violoncelle (partie séparée)
885
2 Violons (duo)
826
Harpe
821
Violon, Violoncelle (duo)
797
Violon (partie séparée)
768
2 Violoncelles (duo)
556
Trio à Cordes: violon, alto, violoncelle
526
Contrebasse (partie séparée)
508
Contre Basse
415
Violon, Alto (duo)
413
Alto (partie séparée)
411
2 Altos (duo)
381
Quintette à cordes: 2 violons, alto, violoncelle, basse
264
Contrebasse, Piano (duo)
245
Alto, Violoncelle (duo)
212
2 Harpes (duo)
203
Trio à Cordes: 2 violons, violoncelle
188
Piano Trio: Violon, Alto, Piano
102
Trio à cordes: 3 violins
83
4 Violoncelles
79
Trio à Cordes: 3 violoncelles
74
Harpe, Flûte (duo)
69
2 Contrebasses (duo)
62
Harpe, Violon (duo)
61
Trio à cordes
56
Quatuor à cordes: 4 violons
50
Harpe, Violoncelle (duo)
46
Harpe (partie séparée)
43
2 Violons, Piano
40
Trio à cordes: 3 altos
37
Violon, Basson (duo)
36
Alto et Harpe
33
Violoncelle, Contrebasse (duo)
32
Violon, Guitare (duo)
30
Quatuor à cordes : 4 altos
30
Trio à Cordes: 2 violons, alto
29
Violoncelle , Guitare (duo)
27
Violon, Tuba (duo)
23
Quintette à cordes : 2 violons, alto et 2 violoncelles
17
Harpe, Voix
16
Alto et Basson
14
Violoncelle, Orgue
13
Violon, Clarinette, Piano (trio)
13
2 Violoncelles, Piano
11
Quintette à cordes: 2 violons, 2 altos, violoncelle
10
Flûte, Contrebasse (duo)
9
Ensemble de Violons
9
4 Harpes
5
Alto, Guitare (duo)
5
Violon, Trompette et Piano
5
Violon, Orgue
5
Ensemble d'Altos
4
3 Harpes
4
2 Altos, Piano
4
Alto, Orgue
3
Harpe, Trombone (duo)
3
Harpe et Piano
3
Ensemble de Violoncelles
3
Harpe, Violon, Violoncelle
2
Harpe, Orchestre
2
4 Contrebasses
1
Violon, Violoncelle, Clarinette
1
Violoncelle, Orchestre
1
Harpe et mandoline
1
Alto et orchestre
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
6010
Batterie
5874
Orchestre
2818
Orchestre à Cordes
1450
Ensemble Jazz
933
Cloches
804
Percussion (partie séparée)
628
Ensemble de cuivres
490
Fanfare
321
Batterie (partie séparée)
298
Orchestre de chambre
253
Percussion
240
Jazz combo
170
Ensemble de Percussions
128
Timbales (partie séparée)
58
Marimba
56
Timbales
29
Xylophone
23
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
18
Xylophone, Piano
14
Vibraphone
13
Vibraphone (partie séparée)
5
Piano et Orchestre
5
Quintette de Cuivres: autres combinaisons
5
Quintette à Vent
4
Big band
4
Caisse Claire
4
Quatuor à Vent : 4 instruments à vents
3
Instrumentation Flexible
2
Voix Mezzo-Soprano, Orchestre
1
Vibraphone et Marimba
1
Bongos
1
Conga
1
3 Marimbas
1
2 Marimbas
1
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AUTRES
Formation musicale - Solfège
45
Théorie de la musique
1
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Day By Day
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
22.07 €
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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
O Holy Night- Arranged for Piano and String orchestra
Piano et Orchestre
Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contem…
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Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contemporary Christian, Spiritual, Sacred, Christmas. Score, Set of Parts. 22 pages. Published by Ognyan Petrov (S0.88877). - Score,Set of Parts - Christian,Contemporary Christian,Spiritual,Sacred,Christmas - Ognyan Petrov
This is an arrangement especially made for 2015 Holiday Contest.Very melodical line in Piano part, combined with lyric strings accompaniment.
$19.50
17.94 €
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Piano et Orchestre
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Adolphe-Charles Adam
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Ognyan Petrov
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O Holy Night- Arranged for Piano and String orchestra
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Ognyan Petrov
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SheetMusicPlus
Klavierkonzert in C-Dur, Opus 7
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedr…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedrich Kuhlau. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 7. 191 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-055-5). ISBN 9790501790555.Exhibiting a natural talent for pastiche and an almost overwhelming abundance of original musical thought the Piano Concerto in C opus 7 took Beethoven's famous Piano Concerto in C opus 15 as its inspiration. Premiere performances of the concerto in Copenhagen 1811, secured a future for the German born composer as a Danish Romantic icon for future generations and this concerto is part of his legacy: as fresh and serene today as the day of its first performance.
$26.95
24.79 €
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Piano et Orchestre
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Friedrich Kuhlau
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Klavierkonzert in C-Dur, Opus 7
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Bisel Classics - Digital
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SheetMusicPlus
Good Friday
Piano et Orchestre
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contempo…
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Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian. Early Intermediate. Sheet Music Single. Published by Exultet Music
$3.99
3.67 €
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Piano et Orchestre
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Stephen DeCesare
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Good Friday
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Exultet Music
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SheetMusicPlus
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