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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
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AFRICAIN
AMERICANA
ASIE
BLUEGRASS
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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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FLAMENCO
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GOSPEL - SPIRITUEL -…
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
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METHODE : ETUDES
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POP ROCK - POP MUSIC
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Note4Piano
Noviscore
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SheetMusicPlus
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Ventes
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difficulté (tous)
débutant
facile
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expert
avec audio
avec vidéo
avec play-along
Non classifié
19998
PIANO & CLAVIERS
Piano seul
14023
Piano, Voix
5157
Piano Facile
4739
Piano, Voix et Guitare
2364
Orgue
1682
Instruments en Do
1005
1 Piano, 4 mains
415
Accompagnement Piano
357
Piano Trio: piano, violon, violoncelle
342
Accordéon
273
2 Pianos, 4 mains
121
Piano (partie séparée)
105
Orgue, Trompette (duo)
85
Piano grosses notes
72
Piano Quatuor: piano, violon, alto, violoncelle
69
Piano Quatuor: piano, 2 violons, violoncelle
52
Clavecin
45
1 Piano, 6 mains
34
Orgue, Piano (duo)
26
Piano Quintette: piano, 2 violons, alto, violoncelle
23
Clavier
23
2 Accordéons
3
2 Pianos, 8 mains
3
Accordéon - Piano, Voix, Guitare
2
Ensemble d'Accordéons
2
Ligne De Mélodie, Piano
2
Accordéon, Piano
2
Tous Les Instruments
1
Ensemble de Pianos
1
Accordéon, Voix
1
Orgue, Voix
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
2877
Guitare
2024
Ligne De Mélodie, (Paroles) et Accords
634
Basse electrique
552
Ukulele
543
Mandoline
367
Paroles et Accords
223
Guitare (partie séparée)
223
2 Guitares (duo)
155
Piano, Guitare (duo)
71
4 Guitares (Quatuor)
65
Dulcimer
57
Banjo
55
3 Guitares (trio)
33
Ensemble de guitares
31
Guitare Pedal Steel
25
Basse électrique (partie séparée)
14
Ukulele Baryton
11
Guitare, Quatuor à cordes
9
2 Ukuleles
8
Partitions De Groupes
7
2 Dulcimers (duo)
6
Guitare, Violon, Violoncelle (trio)
5
Mandoline, Guitare (duo)
5
Ensemble de Ukulélés
3
Guitare, Orchestre
3
Orchestre à Plectres
2
Dobro
2
2 Mandolines (duo)
2
Mandoline, Piano (duo)
2
Cithare
1
Instrumentations suivantes
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VOIX
Chorale SATB
4793
Chorale 3 parties
1566
Chorale Unison
1240
Chorale 2 parties
1034
Chorale TTBB
756
Chorale SSAA
408
Voix seule
299
Voix duo, Piano
141
Voix Soprano, Piano
114
Voix duo
103
Chorale
89
Voix haute
75
Voix Tenor, Piano
36
Voix basse, Piano
32
Voix moyenne, Piano
26
Chorale SSAATTBB
24
Voix Baryton, Piano
20
Voix Alto, Piano
16
Chorale SSATB
16
Chorale SSATTB
9
Voix Tenor
9
Voix Mezzo-Soprano, Piano
8
Voix, Guitare
6
Voix basse
5
Voix Soprano
5
Soli, choeur mixte et accompagnement
4
Chorale, Orgue
4
Chorale SSATBB
3
Chorale SSAB, Piano
3
Voix et basse continue
3
Chorale SATBB
2
Chorale SATTBB A Cappella
2
Voix Soprano, Orchestre
1
Paroles Seulement
1
Voix duo, Orgue
1
Chorale SATTB
1
Voix Baryton
1
Voix Moyenne
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
1882
Flûte traversière
1579
Quatuor de Saxophones: 4 saxophones
1381
Clarinette
1375
Saxophone (partie séparée)
1216
2 Flûtes traversières (duo)
1175
Saxophone
1141
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1082
Flûte, Hautbois, Clarinette, Basson
1070
2 Saxophones (duo)
1033
Hautbois, Piano (duo)
1031
Clarinette et Piano
971
Saxophone Alto et Piano
947
Quatuor de Clarinettes: 4 clarinettes
856
Flûte à bec Soprano
787
Saxophone Tenor et Piano
759
Saxophone Alto
604
2 Clarinettes (duo)
572
Quintette de Saxophone: 5 saxophones
570
Quatuor de Flûtes : 4 flûtes
467
Saxophone Soprano et Piano
444
Flûte à bec Soprano, Piano
378
3 Clarinettes (trio)
367
Saxophone Baryton, Piano
326
Flûte, Clarinette (duo)
320
3 Saxophones (trio)
306
Hautbois (partie séparée)
289
Flûte à bec Alto
273
Clarinette (partie séparée)
271
Hautbois
249
2 Flûte à bec (duo)
249
Harmonica
236
Trio de Flûtes: 3 flûtes
235
Flûte et Guitare
219
Saxophone Tenor
203
2 Hautbois (duo)
190
Ensemble de Clarinettes
180
Flûte à Bec
177
Ensemble de Flûtes
156
Flute (partie séparée)
152
Quintette de Clarinettes: 5 clarinettes
149
Ensemble de saxophones
144
Quatuor de Flûtes à bec
142
Hautbois, Basson (duo)
122
Clarinette, Violon (duo)
113
Saxophone Soprano
112
Flûte, Violon
105
Hautbois, Clarinette (duo)
104
Cor anglais, Piano
97
Saxophone Baryton
95
Flûte, Hautbois, Clarinette (trio)
94
Flûte, Violoncelle
93
Clarinette, Basson (duo)
85
2 Saxophones, Piano
83
Saxophone, Clarinette (duo)
76
Flûte, Clarinette et Basson
72
Hautbois, Clarinette, Basson (trio d'anches)
70
Clarinette Basse, Piano
65
Clarinette, Violoncelle (duo)
64
Flûte, Hautbois (duo)
59
Clarinette, Guitare (duo)
59
2 Flûtes traversières, Piano
58
Flûte, Clarinette, Piano (trio)
57
Clarinette et Alto
57
Quintette de Flûte : 5 flûtes
56
3 Flûtes à bec (trio)
55
Flûte, Saxophone (duo)
55
Flûte, Violoncelle, Piano (trio)
55
Flûte, Violon et Violoncelle
52
Flûte à bec Alto, Piano
52
Flûte, Alto (duo)
51
Flûte, Violon, Piano
47
Clarinette, Trompette (duo)
47
Ensemble De Flûte à bec
47
2 Clarinettes, Piano
43
Hautbois, Violoncelle
41
Flûte à Bec, Piano
41
Flûte, Trombone (duo)
41
Flûte, Trompette (duo)
41
Quintette de Clarinette: Clarinette, Quatuor à Cordes
39
Clarinette, Violoncelle, Piano (trio)
36
Flûte à bec Tenor
34
Flûte, Hautbois, Basson
34
Flûte, trombone et piano
33
5 Flûtes à bec
33
Hautbois, Flûte
33
Instruments en Mib
29
Flûte à bec, Guitare (duo)
29
Flûte, Basson et Piano
28
Flûte et Quatuor à Cordes
27
Hautbois, violon (duo)
25
Flûte, Hautbois, Piano (trio)
25
Flûte et Trio à cordes
23
Flûte, Alto et Piano
23
Ensemble à vent
22
Saxophone et Guitare
20
Cor Anglais
19
Flûte, Violon, Violoncelle et Piano
19
Flûte, Clarinette, Cor, Basson (Quartet)
17
Piccolo
16
Hautbois, Guitare (duo)
15
Saxophone, Violon (duo)
15
Clarinette, trompette et piano
13
Piccolo, Piano
13
Clarinette, Harpe (duo)
13
Clarinette, Basson, Piano (trio)
12
Flûte, Harpe et Violoncelle
11
Hautbois et alto (duo)
11
Clarinette Basse
10
Flûte à bec Soprano, Basse continue
10
Cor anglais, Guitare (duo)
9
Ocarina
8
Flûte irlandaise
8
2 Clarinettes, Basson
8
Flute, harpe et violon
8
Clarinette, Alto et Piano (trio)
7
3 Hautbois
7
4 Hautbois
6
Flûte, Violoncelle, Guitare
6
Clarinette, Contrebasse (duo)
6
Hautbois, Harpe
6
Clarinette, Tuba
5
Hautbois, trombone (duo)
5
Saxophone et Orgue
5
Saxophone et Harpe
5
Clarinette, Trombone (duo)
5
Flûte, Clarinette, Violon (trio)
5
Flûte traversière, Basse continue
5
Clarinette, Orgue
4
Flûte, Tuba (duo)
4
Flûte traversière, Orgue (duo)
4
Ensemble de Hautbois
3
Hautbois, Basson et Piano
3
Flûte, Violon, Guitare
3
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
Flûte, alto et harpe
3
Clarinette, Orchestre
2
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
2
Saxophone et Piano
2
Hautbois, Clarinette et Piano (Trio)
2
Flûte, Hautbois, Violon
2
Flûte de Pan
2
Hautbois, Violon, Piano
2
Flûte, Alto et Violoncelle
2
Flute, Cor (duo)
2
2 Cors Anglais Et Pianoforte
2
Flûte à bec Alto, Basse continue
1
Saxophone, Basson (duo)
1
Hautbois, Orgue
1
2 Hautbois, 2 Cors et 2 Bassons
1
Saxophone et violoncelle
1
2 Flûtes à bec, Piano
1
2 Hautbois, Piano
1
Clarinette, Saxophone, Piano
1
Harmonica, Piano
1
Cor anglais et Harpe (duo)
1
2 Flûtes traversières, Harpe
1
Instrumentations suivantes
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CUIVRES
Trompette
1208
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1108
Trompette, Piano
893
Trombone
881
Trombone et Piano
877
Quatuor de Cuivres : 2 trompettes, trombone, tuba
732
Trombone (partie séparée)
720
Trompette (partie séparée)
613
Cor et Piano
571
Cor
414
2 Trombones (duo)
391
2 Trompettes (duo)
384
Tuba et Piano
362
Quatuor de Cuivres: 2 trompettes, Cor, trombone
359
Quatuor de Cuivres
356
Tuba
308
Trompette, Trombone (duo)
299
Quatuor de cuivres: 4 trombones
227
2 Cors (duo)
226
Cor (partie séparée)
193
Tuba (partie séparée)
139
Euphonium, Piano (duo)
132
Quatuor de cuivres: 4 cors
101
Euphonium
100
Cor anglais, Piano
97
2 Tubas (duo)
79
Ensemble de Trombones
79
Trompette, Saxophone (duo)
73
3 Trombones (trio)
51
Quatuor de cuivres: 4 trompettes
50
3 Trompettes (trio)
46
Ensemble de Trompettes
46
2 Euphoniums et 2 Tubas
45
Trio de Cuivres
44
Euphonium, Tuba (duo)
40
Trompette, Cor (duo)
40
Ensemble de Cors
32
4 Tubas
31
Cor, Violoncelle (duo)
31
Trompette, Violoncelle (duo)
31
Trompette, violon (duo)
28
Instruments en Sib
28
Bass Clef Instruments
28
Tuba et Orgue
27
Cor, Tuba (duo)
21
Cor Anglais
19
Trompette et Guitare
16
2 Euphoniums (duo)
16
Trompette, Tuba (duo)
14
Trompette, Trombone, Piano
14
Trombone basse
14
2 Trompettes, Clavier (piano ou orgue)
13
Quatuor de cuivres: 2 trompettes, 2 trombones
13
Trombone, Tuba (duo)
12
3 Cors (trio)
12
Trompette, Basson (duo)
11
Trombone, Cor (duo)
11
Trombone basse et Piano
11
Cor anglais, Guitare (duo)
9
Cor et Basson (duo)
8
Tuba ou Euphonium ou Saxhorn
7
Trompette, Violoncelle et Piano
6
Cornet A Pistons
6
Trombone, Violon (duo)
6
Instruments en Fa
5
Trombone, Orgue
5
3 Tubas (trio)
4
Ensemble de Tubas
4
Trompette, Harpe
4
Cor et Harpe
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
Trompette, Euphonium (duo)
2
3 Euphoniums
2
Cor, Violoncelle et Piano
2
2 Cors Anglais Et Pianoforte
2
Clarinette, Cor (duo)
2
Trombone et orchestre
1
2 Trombones, Piano
1
4 Euphoniums
1
Trombone, Alto (duo)
1
Cor anglais et Harpe (duo)
1
Cor et Orgue
1
2 Cors, Piano
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
29490
Trio à Cordes: violon, alto, violoncelle
3832
Violon et Piano
2058
Quintette à cordes: 2 violons, alto, violoncelle, basse
2052
Violon
1899
Trio à Cordes: 2 violons, violoncelle
1598
Violoncelle, Piano
1299
Alto, Piano
1165
Alto seul
902
Violoncelle
730
Trio à Cordes: 3 violoncelles
655
2 Violons (duo)
633
Trio à cordes: 3 violins
627
Violon, Violoncelle (duo)
603
Violoncelle (partie séparée)
573
Harpe
498
2 Violoncelles (duo)
494
Quatuor à cordes: 4 violons
482
2 Altos (duo)
402
Violon, Alto (duo)
342
Contrebasse, Piano (duo)
330
Quatuor à cordes : 4 altos
318
Trio à Cordes: 2 violons, alto
307
Contre Basse
283
Violon (partie séparée)
266
2 Harpes (duo)
222
Contrebasse (partie séparée)
221
Trio à cordes: 3 altos
203
Trio à cordes
198
Alto (partie séparée)
195
Quintette à cordes: 2 violons, 2 altos, violoncelle
162
4 Violoncelles
129
Piano Trio: Violon, Alto, Piano
114
Alto, Violoncelle (duo)
98
Quintette à cordes : 2 violons, alto et 2 violoncelles
89
Violoncelle , Guitare (duo)
77
Violoncelle, Contrebasse (duo)
74
Violon, Guitare (duo)
72
2 Contrebasses (duo)
69
Harpe, Flûte (duo)
47
Alto, Guitare (duo)
46
Harpe et Piano
42
Violon, Basson (duo)
35
Harpe, Violon (duo)
33
4 Contrebasses
24
Harpe, Violoncelle (duo)
23
Alto et Basson
23
Flûte, Contrebasse (duo)
23
Alto et Harpe
20
Violon, Clarinette, Piano (trio)
20
Harpe, Violon, Violoncelle
18
2 Violons, Piano
18
Ensemble de Violons
17
3 Contrebasses
12
2 Violoncelles, Piano
12
Ensemble d'Altos
12
Harpe, Voix
9
Violon, Orgue
8
Violon, Violoncelle, Clarinette
7
Harpe (partie séparée)
6
Harpe, Quatuor à cordes
6
Autoharp
6
Harpe et mandoline
4
Violoncelle, Orgue
4
Ensemble de Violoncelles
4
Violon, Tuba (duo)
4
4 Harpes
3
Harpe, Trombone (duo)
3
Violon, Basse continue
3
Violoncelle, Orchestre
3
Violoncelle, Basse continue
2
Violon, Trompette et Piano
2
Alto, Orgue
2
2 Altos, Piano
2
Alto et orchestre
1
2 Violons et Basse continue
1
3 Harpes
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
17067
Orchestre d'harmonie
4581
Orchestre
1469
Ensemble Jazz
885
Batterie
618
Ensemble de cuivres
597
Cloches
559
Fanfare
381
Orchestre de chambre
345
Jazz combo
301
Percussion (partie séparée)
174
Ensemble de Percussions
169
Batterie (partie séparée)
166
Marimba
87
Percussion
69
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
50
Xylophone
44
Vibraphone
41
Xylophone, Piano
32
Timbales (partie séparée)
21
Caisse Claire
17
2 Xylophones
17
Instrumentation Flexible
16
Timbales
7
Ensemble d'École
6
2 Caisses Claires (duo)
5
Piano et Orchestre
5
Orchestre, Violon
4
Quintette à Vent
4
Bongos
3
Vibraphone et Marimba
3
Big band
2
Conga
2
Quintette de Cuivres: autres combinaisons
2
Batterie-Fanfare
2
Vibraphone (partie séparée)
1
3 Marimbas
1
Bodhran
1
Xylophone ou Marimba ou Vibraphone
1
Voix et Orchestre
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
194
Théorie de la musique
18
Papeterie
2
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Concerto No. 1 E minor
Piano et Orchestre
Piano and Orchestra - Digital Download SKU: S9.Q4621 Composed by Frederic Chopin. T…
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Piano and Orchestra - Digital Download SKU: S9.Q4621 Composed by Frederic Chopin. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. New URTEXT Edition. Downloadable, Study score. Op. 11. Ernst Eulenburg & Co. GmbH - Digital #Q4621. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4621). Key: E minor.Klavierkonzert Nr. 1 e-Moll op. 11Seine unausgesprochenen Gefühle unerfüllter Liebe, die er für die Sängern Konstanze Gładkowska hegte, hatte Chopin bereits im f-Moll-Konzert zu verarbeiten versucht, doch die Sehnsucht scheint sich auch im zweiten Satz des e-Moll-Konzertes widerzuspiegeln: Die Romanze „… soll wie das milde Hinblicken auf eine Stätte wirken, die tausend süße Erinnerungen wachruft, wie eine Träumerei in einer schönen, mondbeglänzten Frühlingsnacht.
$15.99
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#
Piano et Orchestre
#
Frederic Chopin
#
Concerto No. 1 E minor
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.18 €
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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
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…
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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
184.89 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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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 …
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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
138.67 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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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…
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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
115.56 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
#
SheetMusicPlus
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