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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
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PIANO
SAXOPHONE
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difficulté (tous)
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expert
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Non classifié
10199
PIANO & CLAVIERS
Piano seul
3754
Piano, Voix
2186
Piano, Voix et Guitare
1340
Piano Facile
1215
Instruments en Do
434
Orgue
394
1 Piano, 4 mains
243
Accordéon
120
Accompagnement Piano
118
Piano (partie séparée)
117
Piano grosses notes
77
Piano Trio: piano, violon, violoncelle
50
2 Pianos, 4 mains
47
Orgue, Trompette (duo)
31
Piano Quatuor: piano, violon, alto, violoncelle
31
Orgue, Piano (duo)
20
Clavecin
8
Piano Quatuor: piano, 2 violons, violoncelle
6
Piano Quintette: piano, 2 violons, alto, violoncelle
5
Ligne De Mélodie, Piano
5
Instrument seul et Orgue
3
Orgue et Orchestre
3
1 Piano, 6 mains
3
Accordéon, Voix
2
Clavier
1
Ensemble de Pianos
1
2 Pianos, 8 mains
1
Orgue, Voix
1
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GUITARES
Ligne De Mélodie, (Paroles) et Accords
1012
Guitare notes et tablatures
797
Guitare
358
Ukulele
222
Guitare (partie séparée)
203
Basse electrique
144
Paroles et Accords
133
2 Guitares (duo)
31
Piano, Guitare (duo)
19
4 Guitares (Quatuor)
18
Basse électrique (partie séparée)
16
Mandoline
15
Banjo
14
Partitions De Groupes
11
Ensemble de guitares
9
Dulcimer
6
2 Ukuleles
6
3 Guitares (trio)
6
Mandoline, Guitare (duo)
4
Ukulele Baryton
3
2 Dulcimers (duo)
3
Mandoline, Piano (duo)
1
Guitare Pedal Steel
1
Guitare, Orchestre
1
Instrumentations suivantes
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VOIX
Chorale SATB
2783
Chorale 2 parties
1657
Voix haute
1571
Chorale 3 parties
1194
Chorale SSAA
577
Chorale TTBB
475
Chorale Unison
358
Voix Soprano, Piano
209
Chorale
117
Voix duo, Piano
112
Voix moyenne, Piano
96
Voix seule
91
Voix haute, Piano
65
Voix duo
60
Voix basse, Piano
44
Voix Moyenne
39
Voix Tenor, Piano
36
Voix Mezzo-Soprano, Piano
20
Voix Baryton, Piano
19
Voix Tenor
12
Chorale SSATB
11
Voix Alto, Piano
10
Chorale SSAATTBB
9
Soli, choeur mixte et accompagnement
7
Voix Soprano
6
Chorale SSATTB
5
Voix basse
4
Chorale SSAB a cappella
3
Chorale SSAB, Piano
2
Voix, Guitare
2
Chorale, Orgue
2
Voix Soprano, Orchestre
1
Chorale SATBB
1
Chorale SSATBB
1
Instrumentations suivantes
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VENTS
Saxophone (partie séparée)
1279
Clarinette (partie séparée)
506
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
450
Flûte traversière et Piano
443
Clarinette
441
Flûte traversière
417
Quatuor de Saxophones: 4 saxophones
413
2 Saxophones (duo)
377
Flûte, Hautbois, Clarinette, Basson
353
Clarinette et Piano
342
Quintette de Saxophone: 5 saxophones
332
Saxophone Alto
323
Hautbois, Piano (duo)
306
Saxophone Alto et Piano
244
2 Flûtes traversières (duo)
240
2 Clarinettes (duo)
203
Quatuor de Clarinettes: 4 clarinettes
200
Hautbois (partie séparée)
191
Saxophone Tenor et Piano
191
Flute (partie séparée)
183
Ensemble de saxophones
140
Saxophone Soprano et Piano
138
Quatuor de Flûtes : 4 flûtes
137
Hautbois
125
Ensemble de Clarinettes
116
Saxophone Baryton, Piano
108
3 Saxophones (trio)
104
Flûte, Clarinette (duo)
100
Trio de Flûtes: 3 flûtes
96
Saxophone Tenor
84
3 Clarinettes (trio)
74
2 Hautbois (duo)
69
Flûte irlandaise
66
Saxophone Soprano
64
2 Flûte à bec (duo)
62
Saxophone
58
Ensemble de Flûtes
57
Flûte à bec Soprano
57
Flûte à Bec
45
Cornemuse
39
Saxophone Baryton
39
Cor anglais, Piano
38
Hautbois, Clarinette (duo)
37
Quintette de Flûte : 5 flûtes
36
Flûte à bec Alto
35
Flûte, Hautbois, Clarinette (trio)
34
Quintette de Clarinettes: 5 clarinettes
30
Hautbois, Basson (duo)
30
Ensemble De Flûte à bec
28
Clarinette, Violon (duo)
25
Flûte et Guitare
23
Clarinette Basse, Piano
22
Clarinette, Basson (duo)
22
Saxophone, Clarinette (duo)
21
Flûte, Clarinette et Basson
19
Flûte à Bec, Piano
18
Flûte à bec Tenor
18
Hautbois, Clarinette, Basson (trio d'anches)
17
Flûte, Violon
17
Cor Anglais
16
Flûte, Violoncelle
15
Hautbois, Flûte
15
Flûte, Clarinette, Piano (trio)
14
Piccolo
14
2 Flûtes traversières, Piano
13
Clarinette, Trompette (duo)
13
Instruments en Mib
13
Clarinette Basse
13
Flûte, Violon, Piano
12
Flûte, Clarinette, Cor, Basson (Quartet)
12
Clarinette et Alto
12
Quatuor de Flûtes à bec
12
Flûte, Hautbois (duo)
11
Harmonica
10
Flûte, Alto (duo)
10
Clarinette, Guitare (duo)
10
Flûte, Violon et Violoncelle
9
Clarinette, Violoncelle (duo)
9
Flûte, Violoncelle, Piano (trio)
8
Hautbois, Violoncelle
7
Flûte, Hautbois, Basson
7
2 Saxophones, Piano
7
Piccolo, Piano
6
3 Flûtes à bec (trio)
6
2 Clarinettes, Piano
6
Flûte, Trombone (duo)
5
Ensemble à vent
5
Flûte, Saxophone (duo)
5
Saxophone et Guitare
5
Clarinette, Harpe (duo)
5
Flûte, Harpe et Violoncelle
4
Clarinette, Violoncelle, Piano (trio)
4
Flûte à bec Alto, Piano
4
Flûte, Trompette (duo)
4
Cor anglais, Guitare (duo)
3
Saxophone et Piano
3
Flûte à bec Soprano, Piano
3
Flûte, Hautbois, Violon
3
Flute, harpe et violon
3
Flûte, Basson et Piano
3
Flûte, Hautbois, Piano (trio)
3
Hautbois et alto (duo)
3
Flûte, Clarinette, Violon (trio)
3
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
5 Flûtes à bec
3
Flûte, Alto et Piano
3
Flûte, trombone et piano
2
Flûte traversière, Orgue (duo)
2
2 Cors Anglais Et Pianoforte
2
Flûte et Trio à cordes
2
2 Clarinettes, Basson
1
Saxophone, Tuba (duo)
1
Clarinette, trompette et piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Violon, Violoncelle et Piano
1
Hautbois, Guitare (duo)
1
Flûte à bec Alto, Basse continue
1
Flûte, Violoncelle, Guitare
1
Clarinette, Alto et Piano (trio)
1
Hautbois, Clarinette et Piano (Trio)
1
Flûte, alto et harpe
1
Clarinette, Tuba
1
Flûte, Tuba (duo)
1
Ensemble de Hautbois
1
Hautbois, trombone (duo)
1
Saxophone, Violon (duo)
1
Hautbois, Harpe
1
Hautbois, Basson et Piano
1
Melodica
1
Ocarina
1
Hautbois, violon (duo)
1
Cor anglais et Harpe (duo)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Clarinette, Orgue
1
Saxophone et violoncelle
1
Saxophone et Orgue
1
Instrumentations suivantes
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CUIVRES
Trompette (partie séparée)
814
Trombone (partie séparée)
813
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
547
Trompette
362
Trombone
295
Trompette, Piano
287
Quatuor de Cuivres : 2 trompettes, trombone, tuba
266
Cor (partie séparée)
254
Trombone et Piano
243
Cor et Piano
223
Cor
201
Quatuor de Cuivres
153
Tuba et Piano
142
2 Trombones (duo)
140
Tuba (partie séparée)
136
Tuba
130
Quatuor de Cuivres: 2 trompettes, Cor, trombone
121
2 Trompettes (duo)
115
Ensemble de Trompettes
96
Quatuor de cuivres: 4 trombones
87
Ensemble de Trombones
75
2 Cors (duo)
69
Trompette, Trombone (duo)
49
Euphonium, Piano (duo)
43
Cor anglais, Piano
38
Quatuor de cuivres: 4 cors
36
2 Tubas (duo)
33
Tuba ou Euphonium ou Saxhorn
27
Trompette, Saxophone (duo)
27
Trompette, Cor (duo)
27
Trio de Cuivres
19
3 Trombones (trio)
19
Bass Clef Instruments
18
Quatuor de cuivres: 4 trompettes
17
Euphonium
16
Cor Anglais
16
Ensemble de Cors
15
2 Euphoniums (duo)
14
2 Euphoniums et 2 Tubas
13
Euphonium, Tuba (duo)
10
Trombone basse
10
3 Trompettes (trio)
8
Instruments en Sib
7
Trombone, Tuba (duo)
7
2 Trompettes, Clavier (piano ou orgue)
7
Trombone basse et Piano
6
Trombone, Orgue
6
4 Tubas
6
Quatuor de cuivres: 2 trompettes, 2 trombones
6
Cor, Tuba (duo)
5
G Instruments
4
Trompette, Tuba (duo)
4
Cor anglais, Guitare (duo)
3
3 Tubas (trio)
3
Trompette, violon (duo)
3
3 Cors (trio)
3
Trompette, Violoncelle (duo)
3
Cor et Harpe
2
2 Cors Anglais Et Pianoforte
2
Trompette, Basson (duo)
2
Trombone et orchestre
2
Trombone, Violon (duo)
2
Trompette, Trombone, Piano
2
Trombone, Cor (duo)
2
Tuba et Orgue
2
4 Euphoniums
1
Cor, Violoncelle et Piano
1
Instruments en Fa
1
Cornet et Piano
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Cor et Orgue
1
Cor anglais et Harpe (duo)
1
Trompette, Harpe
1
Cor et Basson (duo)
1
Trompette et Guitare
1
2 Trombones, Piano
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1410
Violon et Piano
627
Violoncelle, Piano
458
Violon
438
Alto, Piano
319
Alto seul
252
Violoncelle (partie séparée)
246
Contrebasse (partie séparée)
243
Violoncelle
225
Violon (partie séparée)
222
Harpe
213
2 Violons (duo)
206
Violon, Violoncelle (duo)
192
Quintette à cordes: 2 violons, alto, violoncelle, basse
170
Trio à Cordes: violon, alto, violoncelle
163
Contre Basse
146
2 Violoncelles (duo)
139
Contrebasse, Piano (duo)
137
2 Altos (duo)
108
Alto (partie séparée)
93
Violon, Alto (duo)
92
Trio à Cordes: 2 violons, violoncelle
48
4 Violoncelles
38
Trio à cordes
31
Ensemble de Violons
31
Alto, Violoncelle (duo)
28
2 Contrebasses (duo)
27
Ensemble d'Altos
26
2 Harpes (duo)
26
Trio à cordes: 3 violins
23
Trio à Cordes: 3 violoncelles
22
Piano Trio: Violon, Alto, Piano
22
Quatuor à cordes: 4 violons
20
Violoncelle, Contrebasse (duo)
18
Quatuor à cordes : 4 altos
15
Harpe, Voix
15
Harpe, Flûte (duo)
14
Violon, Guitare (duo)
12
Violoncelle , Guitare (duo)
12
Harpe, Violon (duo)
10
Ensemble de Violoncelles
9
2 Violons, Piano
9
Trio à cordes: 3 altos
7
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Alto, Guitare (duo)
4
2 Violoncelles, Piano
4
3 Contrebasses
4
Violon, Orgue
4
Harpe, Violoncelle (duo)
4
Violon, Basson (duo)
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
Harpe et mandoline
2
Harpe et Orgue
2
Trio à Cordes: 2 violons, alto
2
Harpe (partie séparée)
2
4 Contrebasses
2
Violon, Basse continue
2
Harpe et Piano
2
Autoharp
1
Violon, Clarinette, Piano (trio)
1
2 Violons et Basse continue
1
Violon, Tuba (duo)
1
Violon, Trompette et Piano
1
Flûte, Contrebasse (duo)
1
Alto et Harpe
1
4 Harpes
1
Violon, Violoncelle, Clarinette
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
3850
Orchestre
822
Ensemble Jazz
792
Orchestre à Cordes
740
Percussion (partie séparée)
354
Ensemble de cuivres
289
Cloches
207
Fanfare
205
Batterie (partie séparée)
154
Jazz combo
140
Batterie
134
Orchestre de chambre
119
Ensemble de Percussions
78
Percussion
74
Timbales (partie séparée)
45
Timbales
32
Marimba
21
Xylophone, Piano
12
Vibraphone
9
Piano et Orchestre
8
Xylophone
8
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
6
Orchestre, Violon
5
2 Xylophones
4
Ensemble d'École
3
Quintette de Cuivres: autres combinaisons
2
Caisse Claire
2
Quatuor à Vent : 4 instruments à vents
1
Instrumentation Flexible
1
Quintette à Vent
1
Big band
1
3 Percussions
1
Vibraphone (partie séparée)
1
Vibraphone et Marimba
1
Instrumentations suivantes
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AUTRES
Papeterie
15
Formation musicale - Solfège
4
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Piano et Orchestre
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1
Peter Tchaikovsky: Concerto in Bb minor Op.23 No.1 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Pyotr Ilyich Tchaikovsky for piano & orchestra o…
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Instantly downloadable sheet music by Pyotr Ilyich Tchaikovsky for piano & orchestra of HIGH skill level. Contents: opus 23, op. 23, no. 1, piano concerto / classical,concert
$6.75
6.2 €
#
Piano et Orchestre
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Peter Tchaikovsky
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Virtualsheetmusic
Edward Grieg: Concerto in A minor Op.16 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Edvard Grieg for piano & orchestra of HIGH skill…
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Instantly downloadable sheet music by Edvard Grieg for piano & orchestra of HIGH skill level. Contents: op. 16, opus 16 / classical,concert
$6.75
6.2 €
#
Piano et Orchestre
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Edward Grieg
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Virtualsheetmusic
Frederic Chopin: Concerto in E minor Op.11 No.1 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Frederic Chopin for piano & orchestra of HIGH sk…
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Instantly downloadable sheet music by Frederic Chopin for piano & orchestra of HIGH skill level. Contents: Op. 11, opus 11 / classical,concert
$6.99
6.42 €
#
Piano et Orchestre
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Frederic Chopin
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Virtualsheetmusic
Ludwig Van Beethoven: Concerto Op.73 No.5 "Emperor" for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Ludwig van Beethoven for piano & orchestra of HI…
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Instantly downloadable sheet music by Ludwig van Beethoven for piano & orchestra of HIGH skill level. Contents: Imperatore, concerto op. 73, op.73, 73, emperor, piano concerto / classical,concert
$5.75
5.28 €
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Piano et Orchestre
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Ludwig Van Beethoven
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Virtualsheetmusic
Konzert fur Piano und Orchester, Opus 15
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovan…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 15. 223 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-117-0). ISBN 9790501791170.The only piano concerto from this influential Italian composer, it is one characterised by the highest ideals of artistic merit. A substantial work in three movements it is a work of broad themes and even broader spirations. Enough to test the mettle of the most experienced and gifted of performers it is a work which will be remembered for its poetic grandeur as much as for its incendiary pianistic qualities.
$31.95
29.34 €
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Piano et Orchestre
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Giovanni Sgambati
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Konzert fur Piano und Orchester, Opus 15
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Bisel Classics - 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)
$23.99
22.03 €
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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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