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AUTRES INST…
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CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
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VIELLE A RO…
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VIOLONCELLE
XYLOPHONE
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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
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
13573
PIANO & CLAVIERS
Piano, Voix
8929
Piano seul
5814
Piano grosses notes
3565
Orgue
2374
Piano Facile
1883
Piano (partie séparée)
1661
Piano, Voix et Guitare
749
Instruments en Do
500
1 Piano, 4 mains
205
Accompagnement Piano
182
Clavier
93
Piano Trio: piano, violon, violoncelle
71
Accordéon
62
Piano Quatuor: piano, violon, alto, violoncelle
35
2 Pianos, 4 mains
32
Clavecin
21
Piano Quintette: piano, 2 violons, alto, violoncelle
17
Orgue, Piano (duo)
17
Orgue, Trompette (duo)
14
2 Orgues (duo)
10
Piano Quatuor: piano, 2 violons, violoncelle
6
Tous Les Instruments
4
3 Pianos
2
2 Pianos, 8 mains
2
Accordéon, Piano
1
1 Piano, 6 mains
1
Orgue, Voix
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Instrumentations suivantes
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GUITARES
Guitare (partie séparée)
2137
Guitare notes et tablatures
1092
Guitare
904
Basse electrique
624
Basse électrique (partie séparée)
387
Ligne De Mélodie, (Paroles) et Accords
236
Ukulele
194
Mandoline
117
2 Guitares (duo)
116
Banjo
84
Piano, Guitare (duo)
77
Paroles et Accords
55
Dulcimer
52
4 Guitares (Quatuor)
20
Guitare Pedal Steel
11
Ensemble de guitares
10
Ukulele Baryton
10
3 Guitares (trio)
8
Dobro
6
2 Mandolines (duo)
3
Guitare, Violon, Violoncelle (trio)
3
Luth
2
Ensemble de Ukulélés
2
Orchestre à Plectres
2
Guitare, Flûte, Clarinette
2
Mandoline, Guitare (duo)
2
2 Ukuleles
2
2 Dulcimers (duo)
1
Guitare, Orchestre
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
3552
Chorale 3 parties
832
Chorale 2 parties
442
Chorale TTBB
397
Chorale SSAA
342
Chorale Unison
301
Voix Soprano, Piano
139
Pack Instrumental pour Chorale
136
Voix seule
119
Voix haute
118
Chorale
113
Voix Tenor, Piano
73
Voix duo, Piano
70
Voix Baryton, Piano
62
Voix moyenne, Piano
47
Voix Alto, Piano
47
Voix duo
42
Voix basse, Piano
28
Voix Mezzo-Soprano, Piano
26
Chorale SSATB
26
Chorale SSAATTBB
18
Chorale SSATTB
17
Voix Tenor
11
Voix Soprano
7
Voix, Guitare
6
Chorale SATBB
5
Voix basse
5
Chorale, Orgue
5
Voix haute, Piano
4
Voix duo, Orgue
4
Chorale SSAB, Piano
2
Chorale SSAATB
2
Chorale SSAB a cappella
1
Voix Moyenne
1
Instrumentations suivantes
Retracter
VENTS
Saxophone (partie séparée)
25672
Clarinette (partie séparée)
14475
Flute (partie séparée)
6579
Hautbois (partie séparée)
6325
Clarinette
571
Clarinette et Piano
566
Flûte traversière et Piano
489
Quatuor de Clarinettes: 4 clarinettes
476
Ensemble de Clarinettes
475
Saxophone Alto et Piano
386
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
370
Hautbois, Piano (duo)
361
Flûte traversière
348
Quintette de Clarinettes: 5 clarinettes
299
Quatuor de Saxophones: 4 saxophones
283
2 Clarinettes (duo)
271
Saxophone Alto
237
2 Saxophones (duo)
219
Flûte, Hautbois, Clarinette, Basson
212
Saxophone Tenor
208
Saxophone Tenor et Piano
204
2 Flûtes traversières (duo)
197
Flûte et Guitare
165
Quintette de Saxophone: 5 saxophones
162
3 Clarinettes (trio)
113
Quatuor de Flûtes : 4 flûtes
98
3 Saxophones (trio)
91
Saxophone Soprano et Piano
82
2 Flûte à bec (duo)
53
Flûte, Clarinette (duo)
47
Harmonica
44
Clarinette Basse
42
Trio de Flûtes: 3 flûtes
42
Flûte à bec Soprano
42
Saxophone Baryton, Piano
41
Ensemble de Flûtes
41
Hautbois
40
Cor anglais, Piano
35
Flûte, Violon, Piano
34
Ensemble de saxophones
29
Quintette de Flûte : 5 flûtes
27
2 Hautbois (duo)
26
Clarinette, Guitare (duo)
26
Flûte à Bec
25
Ocarina
22
Hautbois, Basson (duo)
22
Flûte, Violon
22
Flûte, Clarinette et Basson
20
Saxophone et Piano
19
Hautbois, Clarinette (duo)
17
Flûte, Hautbois, Clarinette (trio)
16
Clarinette, Violon (duo)
16
Clarinette, Basson (duo)
16
Hautbois, Flûte
16
Hautbois, Clarinette, Basson (trio d'anches)
15
2 Clarinettes, Piano
15
Saxophone, Clarinette (duo)
15
Quatuor de Flûtes à bec
15
Clarinette Basse, Piano
15
Saxophone Soprano
14
Flûte, Violoncelle
14
Saxophone
14
Flûte à bec Alto
13
Flûte irlandaise
11
Flûte, Violon et Violoncelle
10
Quintette de Clarinette: Clarinette, Quatuor à Cordes
9
Flûte, Trompette (duo)
9
Clarinette, Trompette (duo)
9
2 Flûtes traversières, Piano
9
Flûte, Hautbois, Basson
9
3 Flûtes à bec (trio)
9
Cor anglais, Guitare (duo)
8
Clarinette et Alto
8
2 Saxophones, Piano
8
Flûte à bec Tenor
7
Flûte, Hautbois (duo)
7
Ensemble à vent
7
Clarinette, Violoncelle (duo)
7
Hautbois, violon (duo)
7
Cor Anglais
6
Flûte, Clarinette, Piano (trio)
6
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
6
Flûte traversière, Basse continue
6
Flûte à bec Soprano, Piano
6
Clarinette, Violoncelle, Piano (trio)
6
Flûte traversière, Orgue (duo)
5
Piccolo
5
Hautbois, Guitare (duo)
5
2 Cors Anglais Et Pianoforte
5
Flûte et Trio à cordes
5
Flûte, Alto (duo)
5
Ensemble De Flûte à bec
5
Flûte, Clarinette, Violon (trio)
4
Flûte, Basson et Piano
4
Clarinette, Trombone (duo)
4
Flûte, Violon, Violoncelle et Piano
4
Clarinette, Harpe (duo)
3
Flûte, Saxophone (duo)
3
Flûte, Hautbois, Piano (trio)
3
2 Clarinettes, Basson
3
Clarinette, Orgue
3
Flûte, Violoncelle, Piano (trio)
3
Flûte à Bec, Piano
3
Saxophone et Guitare
3
2 Flûtes, 2 Clarinettes (Quatuor)
3
Hautbois, Violon, Piano
3
Saxophone et Orgue
3
Saxophone Baryton
3
Flûte à bec Alto, Piano
3
Hautbois, Violoncelle et Piano
2
Clarinette, Alto et Piano (trio)
2
Flûte de Pan
2
Flute, harpe et violon
2
Instruments en Mib
2
Flûte, Clarinette, Cor, Basson (Quartet)
2
Saxophone, Violon (duo)
2
Hautbois, Trompette (duo)
2
Flûte, Trombone (duo)
2
Clarinette, Orchestre
2
Hautbois, Violoncelle
2
Clarinette, Basson, Piano (trio)
2
Flûte à bec Alto, Basse continue
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Cor anglais et Harpe (duo)
1
Hautbois, Basson et Piano
1
Clarinette, Tuba
1
4 Hautbois
1
5 Flûtes à bec
1
Flûte, Violon, Guitare
1
Hautbois, Clarinette et Piano (Trio)
1
2 Flûtes, Basse continue
1
Flûte à bec Soprano, Basse continue
1
Piccolo, Piano
1
Flûte, trombone et piano
1
Clarinette, Contrebasse (duo)
1
Hautbois et alto (duo)
1
Flûte à bec, Guitare (duo)
1
Flûte, Hautbois, Violon
1
3 Hautbois
1
Saxophone et violoncelle
1
Instrumentations suivantes
Retracter
CUIVRES
Trombone (partie séparée)
17982
Trompette (partie séparée)
17213
Cor (partie séparée)
6571
Tuba (partie séparée)
4947
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
420
Trompette
317
Trompette, Piano
288
Cor
240
Trombone
231
Quatuor de Cuivres : 2 trompettes, trombone, tuba
206
Cor et Piano
173
Tuba
169
Trombone et Piano
168
Tuba et Piano
95
Quatuor de Cuivres
85
Euphonium (partie séparée)
84
2 Trompettes (duo)
74
2 Trombones (duo)
48
Euphonium, Piano (duo)
36
Cor anglais, Piano
35
2 Cors (duo)
35
Trompette, Trombone (duo)
35
Quatuor de cuivres: 4 trombones
33
Euphonium
31
Ensemble de Trombones
29
Quatuor de Cuivres: 2 trompettes, Cor, trombone
28
Quatuor de cuivres: 4 cors
26
Euphonium, Tuba (duo)
19
Trio de Cuivres
18
Trombone, Tuba (duo)
16
3 Trombones (trio)
13
2 Euphoniums et 2 Tubas
13
Ensemble de Cors
13
3 Trompettes (trio)
12
2 Tubas (duo)
11
4 Tubas
11
Trompette, Saxophone (duo)
10
Ensemble de Trompettes
10
Cor anglais, Guitare (duo)
8
Bass Clef Instruments
8
Cornet A Pistons
7
Trompette, Cor (duo)
7
Cor Anglais
6
Trombone basse et Piano
6
Quatuor de cuivres: 4 trompettes
6
Trombone, violoncelle (duo)
6
Trompette et Guitare
5
Cor, Orchestre
5
2 Cors Anglais Et Pianoforte
5
Trombone, Cor (duo)
4
2 Euphoniums (duo)
4
Ensemble de Tubas
4
Tuba et Orgue
4
Trompette, Tuba (duo)
4
Trompette, Basson (duo)
3
Trompette, violon (duo)
3
Trompette, Trombone, Piano
3
Instruments en Sib
3
2 Trompettes, Clavier (piano ou orgue)
3
Bugle
2
Cor, Tuba (duo)
2
Trombone, Orgue
2
Cor anglais et Harpe (duo)
1
Trombone et orchestre
1
2 Cors, Piano
1
Cor, Violoncelle (duo)
1
3 Tubas (trio)
1
Cornet et orchestre
1
Cor et Harpe
1
3 Cors (trio)
1
Instrumentations suivantes
Retracter
CORDES
Violon (partie séparée)
9452
Contrebasse (partie séparée)
4968
Violoncelle (partie séparée)
2946
Alto (partie séparée)
2895
Quatuor à cordes: 2 violons, alto, violoncelle
1163
Violon et Piano
801
Violon
517
Violoncelle, Piano
383
Harpe
365
Alto, Piano
333
Violoncelle
311
Violon, Violoncelle (duo)
257
Alto seul
179
2 Violons (duo)
164
Trio à Cordes: violon, alto, violoncelle
152
2 Violoncelles (duo)
133
Quintette à cordes: 2 violons, alto, violoncelle, basse
128
Violon, Alto (duo)
112
Trio à Cordes: 2 violons, violoncelle
99
Harpe (partie séparée)
88
Contre Basse
72
Contrebasse, Piano (duo)
66
2 Altos (duo)
51
Alto, Violoncelle (duo)
41
Violoncelle , Guitare (duo)
41
4 Violoncelles
39
Violon, Guitare (duo)
36
Quintette à cordes: 2 violons, 2 altos, violoncelle
21
Alto, Guitare (duo)
21
Violoncelle, Contrebasse (duo)
20
Trio à Cordes: 3 violoncelles
20
Piano Trio: Violon, Alto, Piano
19
Harpe, Flûte (duo)
17
Trio à cordes: 3 violins
13
Trio à Cordes: 2 violons, alto
11
2 Contrebasses (duo)
11
2 Violons, Piano
10
Harpe, Violon (duo)
9
2 Harpes (duo)
9
Autoharp
9
Quatuor à cordes: 4 violons
9
Trio à cordes
9
Quatuor à cordes : 4 altos
7
Flûte, Contrebasse (duo)
7
Violoncelle, Orgue
6
Harpe, Violoncelle (duo)
6
Violoncelle, Orchestre
5
Violoncelle, Basse continue
5
Alto et Harpe
5
Trio à cordes: 3 altos
4
4 Harpes
4
Harpe, Voix
4
Harpe et Orgue
4
Violon, Basse continue
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
4
5 Harpes
3
Violon, Orgue
3
2 Violons et Basse continue
3
Harpe et Piano
2
Violon, Basson (duo)
2
Ensemble de Violons
2
Harpe, Violon, Violoncelle
1
Alto et Basson
1
Violon, Clarinette, Piano (trio)
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Percussion (partie séparée)
8917
Orchestre d'harmonie
8768
Batterie (partie séparée)
2594
Timbales (partie séparée)
2256
Fanfare
875
Orchestre à Cordes
740
Orchestre
685
Ensemble Jazz
625
Cloches
372
Orchestre de chambre
242
Ensemble de cuivres
241
Jazz combo
107
Vibraphone (partie séparée)
94
Percussion
92
Batterie
78
Ensemble de Percussions
69
Xylophone (partie séparée)
35
Marimba
16
Xylophone
12
Vibraphone
11
Piano et Orchestre
8
Timbales
8
Quintette à Vent
7
Caisse Claire
6
Quintette de Cuivres: autres combinaisons
6
Xylophone, Piano
4
Ensemble d'École
3
Orchestre, Violon
3
Trio à Vent: 3 instruments à vents
3
Big band
2
Conga
2
Quatuor à Vent : 4 instruments à vents
2
Bodhran
2
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
1
3 Percussions
1
Cajon
1
Instrumentation Flexible
1
Marimba, Saxophone (duo)
1
Xylophone ou Marimba ou Vibraphone
1
3 Marimbas
1
Instrumentations suivantes
Retracter
AUTRES
Théorie de la musique
8
Formation musicale - Solfège
4
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Partitions à imprimer
8 partitions trouvées
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1
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
14.67 €
#
Piano et Orchestre
#
Frederic Chopin
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Concerto No. 1 E minor
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Third Piano Concerto in E minor
Piano et Orchestre
Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minute…
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Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minutes. Zimmermann #Q564179. Published by Zimmermann
$19.99
18.33 €
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Piano et Orchestre
#
Nikolai Medtner
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Third Piano Concerto in E minor
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SheetMusicPlus
Piano Concerto No. 1 Eb major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4496 Composed by Franz Liszt. This …
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Piano and orchestra - Digital Download SKU: S9.Q4496 Composed by Franz Liszt. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4496. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4496). Key: E flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$13.99
12.83 €
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Piano et Orchestre
#
Franz Liszt
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Piano Concerto No. 1 Eb major
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Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto No. 5 Eb major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4493 Emperor. Composed by Lu…
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Piano and orchestra - Digital Download SKU: S9.Q4493 Emperor. Composed by Ludwig van Beethoven. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 73. Ernst Eulenburg & Co. GmbH - Digital #Q4493. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4493). Key: E flat major.New Urtext Edition.
$17.99
16.5 €
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Piano et Orchestre
#
Ludwig van Beethoven
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Concerto No. 5 Eb major
#
Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Concerto No. 22 Eb major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q40294 Composed by Wolfgang Amadeus …
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Piano and orchestra - Digital Download SKU: S9.Q40294 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q40294. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q40294). Key: E flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
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10.08 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concerto No. 22 Eb major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Concerto No. 9 Eb major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4513 Jeunehomme. Composed by…
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Piano and orchestra - Digital Download SKU: S9.Q4513 Jeunehomme. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4513. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4513). Key: E flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$10.99
10.08 €
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Piano et Orchestre
#
Wolfgang Amadeus Mozart
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Concerto No. 9 Eb major
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Ernst Eulenburg & Co. GmbH - Digital
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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)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 €
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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
Concerto para piano e orquestra n.2 em formas brasileiras
Piano et Orchestre
Composed by Hekel Tavares. 21st Century, Contemporary Classical, South American. Solo Part…
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Composed by Hekel Tavares. 21st Century, Contemporary Classical, South American. Solo Part. 34 pages. Published by Musica Brasilis (S0.240407). - Solo Part - 21st Century,Contemporary Classical,South American - Musica Brasilis
$17.50
16.05 €
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Piano et Orchestre
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Hekel Tavares
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Concerto para piano e orquestra n.2 em formas brasileiras
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Musica Brasilis
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SheetMusicPlus
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