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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
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ORGUE
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PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
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Vendeurs (tous)
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Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
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débutant
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expert
avec audio
avec vidéo
avec play-along
Non classifié
25002
PIANO & CLAVIERS
Piano seul
17017
Piano, Voix et Guitare
7495
Piano, Voix
7394
Piano Facile
6731
Instruments en Do
1915
Orgue
1226
Accompagnement Piano
616
1 Piano, 4 mains
515
Piano grosses notes
326
Piano Trio: piano, violon, violoncelle
229
Piano (partie séparée)
228
Accordéon
217
2 Pianos, 4 mains
138
Piano Quatuor: piano, violon, alto, violoncelle
92
Piano Quintette: piano, 2 violons, alto, violoncelle
65
Clavecin
44
Piano Quatuor: piano, 2 violons, violoncelle
43
Orgue, Piano (duo)
42
Orgue, Trompette (duo)
36
Ligne De Mélodie, Piano
19
Clavier
12
1 Piano, 6 mains
9
2 Pianos, 8 mains
5
Accordéon, Voix
4
2 Accordéons
2
Ensemble d'Accordéons
2
Orgue, Voix
2
Accordéon et Orchestre
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
3213
Ligne De Mélodie, (Paroles) et Accords
2052
Guitare
1772
Ukulele
856
Paroles et Accords
813
Basse electrique
436
Guitare (partie séparée)
420
Dulcimer
199
2 Guitares (duo)
137
Banjo
78
4 Guitares (Quatuor)
77
Mandoline
75
Piano, Guitare (duo)
66
Ensemble de guitares
51
Basse électrique (partie séparée)
51
Mandoline, Piano (duo)
47
3 Guitares (trio)
22
Ensemble de Ukulélés
16
2 Dulcimers (duo)
14
Ukulele Baryton
9
2 Ukuleles
5
Mandoline, Guitare (duo)
5
Guitare Pedal Steel
4
Guitare, Violon, Violoncelle (trio)
3
Partitions De Groupes
2
Guitare, Orchestre
1
Cithare
1
2 Mandolines (duo)
1
Dobro
1
Instrumentations suivantes
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VOIX
Chorale SATB
7204
Chorale 3 parties
2589
Chorale 2 parties
1535
Chorale TTBB
1397
Chorale Unison
1075
Chorale SSAA
841
Voix Soprano, Piano
294
Voix duo, Piano
246
Voix seule
207
Voix duo
191
Chorale
173
Voix haute
98
Voix Alto, Piano
68
Voix Tenor, Piano
66
Voix moyenne, Piano
46
Voix basse, Piano
28
Voix Tenor
25
Chorale SSAATTBB
17
Chorale SSATB
15
Voix Soprano
13
Voix basse
12
Voix Baryton, Piano
10
Voix Mezzo-Soprano, Piano
9
Chorale SSATTB
9
Voix, Guitare
9
Chorale SSATBB
3
Soli, choeur mixte et accompagnement
3
Chorale SSAB, Piano
3
Chorale SSAB a cappella
2
Voix Moyenne
1
Chorale SATTBB A Cappella
1
Chorale SATBB
1
Chorale SAATB A Cappella
1
Voix haute, Piano
1
Chorale SSAATB
1
Instrumentations suivantes
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VENTS
Saxophone (partie séparée)
2515
Quatuor de Saxophones: 4 saxophones
1972
Flûte traversière et Piano
1933
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1747
Flûte traversière
1447
Clarinette
1427
Flûte, Hautbois, Clarinette, Basson
1422
Clarinette et Piano
1401
Hautbois, Piano (duo)
1295
2 Saxophones (duo)
1257
Quatuor de Clarinettes: 4 clarinettes
1195
Saxophone Alto
1111
Saxophone Alto et Piano
1088
2 Flûtes traversières (duo)
834
Quintette de Saxophone: 5 saxophones
788
Saxophone Tenor et Piano
752
2 Clarinettes (duo)
735
Hautbois (partie séparée)
566
Quatuor de Flûtes : 4 flûtes
564
Saxophone Soprano et Piano
558
Clarinette (partie séparée)
442
Ensemble de Clarinettes
435
Saxophone
408
3 Saxophones (trio)
372
Saxophone Tenor
345
Ensemble de saxophones
333
Saxophone Baryton, Piano
317
Flûte, Clarinette (duo)
311
Flute (partie séparée)
306
3 Clarinettes (trio)
272
2 Hautbois (duo)
268
Quintette de Clarinettes: 5 clarinettes
262
Trio de Flûtes: 3 flûtes
248
Ensemble de Flûtes
237
2 Flûte à bec (duo)
223
Cor anglais, Piano
213
Saxophone, Clarinette (duo)
203
Hautbois
186
Clarinette, Violon (duo)
183
Flûte à Bec
171
Hautbois, Basson (duo)
170
Saxophone Soprano
142
Flûte, Violon
141
Flûte et Guitare
134
Hautbois, Clarinette (duo)
132
Clarinette, Trompette (duo)
132
Flûte à bec Soprano
118
Quintette de Flûte : 5 flûtes
116
Clarinette, Basson (duo)
102
Saxophone Baryton
97
Clarinette et Alto
96
Quatuor de Flûtes à bec
95
Clarinette Basse, Piano
95
Flûte, Clarinette et Basson
88
Flûte, Alto (duo)
83
Flûte, Violoncelle
83
Flûte irlandaise
79
Hautbois, Flûte
79
Flûte, Saxophone (duo)
72
Flûte, Hautbois, Clarinette (trio)
71
Flûte, Hautbois, Basson
69
Cor Anglais
66
Hautbois, Clarinette, Basson (trio d'anches)
66
Flûte, Hautbois (duo)
63
Flûte, Trompette (duo)
62
Clarinette, Guitare (duo)
58
Flûte à bec Alto
56
Clarinette, Violoncelle (duo)
53
2 Flûtes traversières, Piano
53
Ensemble De Flûte à bec
46
Flûte, Violon et Violoncelle
37
Hautbois, Violoncelle
37
Flûte, Violoncelle, Piano (trio)
37
5 Flûtes à bec
37
3 Hautbois
36
Flûte, Clarinette, Piano (trio)
35
4 Hautbois
34
Flûte, Violon, Piano
32
Hautbois, violon (duo)
31
Instruments en Mib
31
Flûte à bec Soprano, Piano
31
Harmonica
31
2 Saxophones, Piano
30
Flûte à bec Tenor
29
Flûte, Basson et Piano
28
3 Flûtes à bec (trio)
26
Flûte à bec Alto, Piano
25
Piccolo, Piano
24
Clarinette, Harpe (duo)
24
Flûte, Trombone (duo)
24
Ocarina
22
Piccolo
21
2 Clarinettes, Piano
19
Flûte, Clarinette, Cor, Basson (Quartet)
18
Clarinette, Trombone (duo)
16
Saxophone et Harpe
16
Hautbois, Guitare (duo)
14
Hautbois et alto (duo)
13
Clarinette, Violoncelle, Piano (trio)
12
Flûte, Violon, Violoncelle et Piano
12
Flûte, Hautbois, Piano (trio)
12
Flûte, Harpe et Violoncelle
12
Flûte à Bec, Piano
11
2 Clarinettes, Basson
11
Saxophone et Guitare
11
Cor anglais, Guitare (duo)
10
Flûte et Trio à cordes
9
Hautbois, Harpe
9
Clarinette Basse
9
Saxophone, Violon (duo)
8
Cornemuse
8
Clarinette, Basson, Piano (trio)
7
Flûte, Hautbois, Violon
6
Flûte, Alto et Piano
6
Ensemble à vent
6
Flute, harpe et violon
6
Ensemble de Hautbois
6
Clarinette, Contrebasse (duo)
5
Flûte, Clarinette, Violon (trio)
5
Flute, Cor (duo)
4
Saxophone et Piano
4
Flûte traversière, Orgue (duo)
4
Saxophone et Orgue
4
Saxophone et violoncelle
3
Flûte à bec, Guitare (duo)
3
Hautbois, trombone (duo)
3
Flûte, trombone et piano
3
Flûte à bec Alto, Basse continue
2
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Flûte, Tuba (duo)
2
Hautbois, Violon, Piano
2
Flûte, alto et harpe
2
Hautbois, Clarinette et Piano (Trio)
2
Flûte, Violoncelle, Guitare
2
Clarinette, Orgue
2
Clarinette, Alto et Piano (trio)
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Clarinette, Tuba
2
2 Cors Anglais Et Pianoforte
2
Saxophone, Basson (duo)
1
Hautbois, Basson et Piano
1
Hautbois, Violoncelle et Piano
1
Flûte à bec, Harpe
1
Flute, alto, violoncelle et guitare
1
2 Flûtes à bec, Guitare
1
Saxophone, Tuba (duo)
1
Flûte de Pan
1
Melodica
1
Flûte traversière, Basse continue
1
Hautbois et Orchestre
1
2 Hautbois, Piano
1
Clarinette, trompette et piano
1
Cor anglais et Harpe (duo)
1
2 Hautbois et Basson
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1905
Trompette
1395
Trombone (partie séparée)
1280
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1263
Trompette (partie séparée)
1209
Trompette, Piano
1067
Trombone
1001
Trombone et Piano
999
Cor et Piano
746
Cor
686
Quatuor de Cuivres: 2 trompettes, Cor, trombone
471
Tuba
427
Tuba et Piano
420
2 Trompettes (duo)
392
Cor (partie séparée)
360
Quatuor de Cuivres
360
2 Trombones (duo)
359
Tuba (partie séparée)
263
Trompette, Trombone (duo)
232
Euphonium, Piano (duo)
217
Cor anglais, Piano
213
2 Cors (duo)
203
Quatuor de cuivres: 4 trombones
201
Trompette, Saxophone (duo)
154
Ensemble de Trombones
129
Quatuor de cuivres: 4 cors
120
Ensemble de Trompettes
90
2 Euphoniums et 2 Tubas
77
2 Tubas (duo)
75
Euphonium
74
Trompette, Cor (duo)
74
Cor Anglais
66
Quatuor de cuivres: 4 trompettes
62
Trio de Cuivres
47
4 Tubas
47
Bass Clef Instruments
40
Ensemble de Cors
35
Tuba et Orgue
34
3 Trombones (trio)
32
3 Trompettes (trio)
30
Instruments en Sib
29
Trombone, Cor (duo)
24
Cor, Violoncelle (duo)
23
Trombone basse
20
Trombone, Tuba (duo)
17
Trombone basse et Piano
16
Cor et Harpe
16
2 Euphoniums (duo)
15
Trompette, Basson (duo)
14
Trompette, violon (duo)
13
Quatuor de cuivres: 2 trompettes, 2 trombones
13
Euphonium, Tuba (duo)
13
3 Tubas (trio)
13
Cor, Tuba (duo)
12
Trompette, Violoncelle (duo)
12
Trompette, Tuba (duo)
11
Cor et Basson (duo)
11
3 Cors (trio)
11
Trombone, Orgue
11
Cor anglais, Guitare (duo)
10
Trompette, Harpe
9
Tuba ou Euphonium ou Saxhorn
9
Trombone, Violon (duo)
6
Trompette, Trombone, Piano
6
Instruments en Fa
5
Cor et Orgue
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Trombone, Alto (duo)
3
Trompette, Violoncelle et Piano
3
Clarinette, Cor (duo)
3
Trombone et orchestre
2
2 Trompettes, Clavier (piano ou orgue)
2
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
2
2 Cors, Piano
2
2 Cors Anglais Et Pianoforte
2
Trompette, Euphonium (duo)
1
Cornet et orchestre
1
3 Euphoniums
1
2 Trombones, Piano
1
Trompette, Orchestre
1
Ensemble de Tubas
1
Trompette et Guitare
1
4 Euphoniums
1
Cor anglais et Harpe (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
4867
Violon et Piano
2333
Violon
1981
Harpe
1748
Violoncelle, Piano
1630
Alto, Piano
1475
Violon, Violoncelle (duo)
1027
Violoncelle (partie séparée)
978
Alto seul
850
2 Violons (duo)
814
Trio à Cordes: violon, alto, violoncelle
696
Violoncelle
536
2 Violoncelles (duo)
510
Quintette à cordes: 2 violons, alto, violoncelle, basse
451
Violon, Alto (duo)
412
Contrebasse (partie séparée)
408
2 Altos (duo)
393
Contre Basse
386
Contrebasse, Piano (duo)
328
Violon (partie séparée)
301
Alto (partie séparée)
296
Trio à Cordes: 2 violons, violoncelle
291
2 Harpes (duo)
227
Harpe, Flûte (duo)
179
Alto, Violoncelle (duo)
173
4 Violoncelles
123
Trio à Cordes: 3 violoncelles
102
Piano Trio: Violon, Alto, Piano
86
Violon, Guitare (duo)
73
Quatuor à cordes: 4 violons
63
Trio à cordes: 3 violins
61
Harpe, Violon (duo)
57
2 Contrebasses (duo)
57
Violoncelle, Contrebasse (duo)
54
Quatuor à cordes : 4 altos
51
Violoncelle , Guitare (duo)
38
Violon, Basson (duo)
35
Trio à cordes: 3 altos
35
Trio à Cordes: 2 violons, alto
33
Ensemble de Violons
30
Ensemble d'Altos
28
Quintette à cordes: 2 violons, 2 altos, violoncelle
26
Alto et Basson
25
Harpe, Violoncelle (duo)
25
Alto et Harpe
17
Trio à cordes
17
Alto, Guitare (duo)
16
4 Contrebasses
14
Harpe (partie séparée)
13
Harpe et mandoline
12
Ensemble de Violoncelles
11
2 Violons, Piano
11
Harpe, Voix
10
Violoncelle, Orgue
9
Violon, Clarinette, Piano (trio)
9
Violon, Orgue
9
Quintette à cordes : 2 violons, alto et 2 violoncelles
8
Harpe, Violon, Violoncelle
8
Flûte, Contrebasse (duo)
8
3 Harpes
6
Harpe et Piano
6
Harpe, Trombone (duo)
4
Violon, Tuba (duo)
4
Autoharp
4
Violoncelle, Basse continue
4
Harpe, Quatuor à cordes
3
2 Violoncelles, Piano
3
4 Harpes
3
Violoncelle, Orchestre
3
Alto, Orgue
2
2 Altos, Piano
2
5 Harpes
2
Violon, Violoncelle, Clarinette
1
Violon, Contrebasse (duo)
1
Harpe et Orgue
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
6215
Orchestre à Cordes
1910
Orchestre
1779
Ensemble Jazz
1586
Cloches
1223
Ensemble de cuivres
1214
Jazz combo
649
Fanfare
595
Orchestre de chambre
564
Batterie
541
Batterie (partie séparée)
414
Percussion (partie séparée)
297
Ensemble de Percussions
249
Xylophone
82
Vibraphone
69
Marimba
63
Percussion
49
Xylophone, Piano
32
Timbales (partie séparée)
22
2 Xylophones
12
Quintette à Vent
11
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
11
Orchestre, Violon
7
Piano et Orchestre
7
Vibraphone (partie séparée)
6
Ensemble d'École
6
Timbales
6
Quintette de Cuivres: autres combinaisons
5
Xylophone ou Marimba ou Vibraphone
4
3 Marimbas
3
Big band
3
Caisse Claire
3
Instrumentation Flexible
3
Quatuor à Vent : 4 instruments à vents
2
Marimba, Piano (duo)
2
Conga
1
Vibraphone et Marimba
1
Bodhran
1
Xylophone (partie séparée)
1
Marimba ou Xylophone et Piano
1
Bongos
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
6
Théorie de la musique
1
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Piano et Orchestre
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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
29.29 €
#
Piano et Orchestre
#
Giovanni Sgambati
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Konzert fur Piano und Orchester, Opus 15
#
Bisel Classics - Digital
#
SheetMusicPlus
Ballade for Piano and Orchestra No.1
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069109 Composed by Joseph Hull. Contemporary. Full Performance. Duration 47. Genesis #3014325. Published by Genesis (A0.1069109). This work was begun in 2003. Since that time it has undergone a number of revisions, culminating in its final form in 2016. It has three movements labeled: 1. Andante con moto 2. Allegro 3. Un poco allegretto. I do not think of this as a concerto but a freely expressed piece tied to no particular form. The piano is dominant throughout providing ample opportunity for virtuosity. A full orchestra is employed .
$3.99
3.66 €
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Piano et Orchestre
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Joseph Hull
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Ballade for Piano and Orchestra No.1
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Genesis
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SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7.09 €
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Piano et Orchestre
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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Genesis
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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 €
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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
183.37 €
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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
137.53 €
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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
114.61 €
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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
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