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AUTRES INST…
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CORNET
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FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
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PERCU. ORCH…
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SAXOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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
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FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
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MEDIEVAL - RENAISSAN…
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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
13583
PIANO & CLAVIERS
Piano, Voix et Guitare
34398
Piano, Voix
18816
Piano Facile
9657
Piano seul
9439
Piano grosses notes
2399
Orgue
1042
Instruments en Do
567
1 Piano, 4 mains
318
Accompagnement Piano
132
Accordéon
128
Accordéon, Voix
116
Ligne De Mélodie, Piano
106
2 Pianos, 4 mains
99
Piano Trio: piano, violon, violoncelle
81
Piano (partie séparée)
55
Clavecin
28
Piano Quatuor: piano, violon, alto, violoncelle
22
Orgue, Trompette (duo)
22
Piano Quintette: piano, 2 violons, alto, violoncelle
19
Piano Quatuor: piano, 2 violons, violoncelle
15
Orgue, Piano (duo)
9
Orgue, Voix
7
Instrument seul et Orgue
6
Clavier
5
1 Piano, 6 mains
5
2 Pianos, 8 mains
4
Ensemble d'Accordéons
2
Accordéon - Piano, Voix, Guitare
2
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Orgue et Orchestre
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
10727
Ligne De Mélodie, (Paroles) et Accords
7578
Basse electrique
2228
Ukulele
1838
Guitare
831
Paroles et Accords
380
2 Guitares (duo)
73
Banjo
66
Guitare (partie séparée)
64
Mandoline
52
Dulcimer
35
Piano, Guitare (duo)
28
4 Guitares (Quatuor)
23
3 Guitares (trio)
22
Basse électrique (partie séparée)
14
Mandoline, Piano (duo)
12
Ensemble de guitares
11
Ensemble de Ukulélés
10
Ukulele Baryton
9
Dobro
6
2 Ukuleles
3
Mandoline, Guitare (duo)
3
Partitions De Groupes
2
Guitare, Violon, Violoncelle (trio)
2
2 Dulcimers (duo)
2
Guitare Pedal Steel
1
Instrumentations suivantes
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VOIX
Chorale SATB
4751
Chorale 3 parties
1677
Chorale 2 parties
944
Chorale TTBB
860
Chorale SSAA
357
Chorale Unison
333
Voix duo, Piano
326
Chorale
236
Voix seule
214
Voix, Guitare
115
Voix Soprano, Piano
96
Voix Baryton, Piano
85
Voix Alto, Piano
74
Voix Tenor, Piano
67
Voix Moyenne
66
Voix duo
54
Voix haute
43
Voix Tenor
30
Chorale SSATBB
25
Voix Soprano
24
Voix moyenne, Piano
13
Chorale SSAATTBB
12
Voix basse, Piano
11
Chorale SATTB
9
Voix Mezzo-Soprano, Piano
9
Chorale SSATB
9
Chorale SSAB, Piano
7
Chorale SSATTB
6
Chorale SAATB A Cappella
5
Soli, choeur mixte et accompagnement
5
Voix basse
3
Chorale SSAB a cappella
2
Voix haute, Piano
1
Voix et basse continue
1
Voix Baryton
1
Chorale SSAATB
1
Chorale, Orgue
1
Instrumentations suivantes
Retracter
VENTS
Flûte traversière
959
Quatuor de Saxophones: 4 saxophones
818
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
816
Clarinette
762
Flûte traversière et Piano
753
Saxophone Alto
734
Saxophone (partie séparée)
691
Saxophone Tenor
664
Clarinette et Piano
621
2 Saxophones (duo)
557
Flûte, Hautbois, Clarinette, Basson
555
Saxophone Alto et Piano
515
Hautbois, Piano (duo)
506
Quintette de Saxophone: 5 saxophones
443
2 Flûtes traversières (duo)
383
Quatuor de Clarinettes: 4 clarinettes
375
Saxophone Tenor et Piano
322
2 Clarinettes (duo)
322
Clarinette (partie séparée)
280
Ensemble de Clarinettes
274
Ensemble de saxophones
235
Quatuor de Flûtes : 4 flûtes
232
Hautbois (partie séparée)
226
Saxophone Soprano et Piano
220
Saxophone
200
Saxophone Soprano
179
2 Hautbois (duo)
151
3 Saxophones (trio)
150
Flute (partie séparée)
144
3 Clarinettes (trio)
137
Quintette de Clarinettes: 5 clarinettes
130
Saxophone Baryton, Piano
122
Flûte, Clarinette (duo)
114
Trio de Flûtes: 3 flûtes
113
Hautbois
106
Saxophone et Guitare
101
2 Flûte à bec (duo)
91
Cor anglais, Piano
90
Quintette de Flûte : 5 flûtes
89
Ensemble de Flûtes
82
Flûte et Guitare
80
Flûte à Bec
74
Clarinette Basse, Piano
67
Harmonica
63
Hautbois, Basson (duo)
62
Clarinette, Harpe (duo)
61
Hautbois, Clarinette (duo)
57
Flûte à bec Soprano
49
Flûte, Clarinette et Basson
44
Saxophone, Clarinette (duo)
42
Hautbois, Clarinette, Basson (trio d'anches)
40
Clarinette, Guitare (duo)
38
2 Flûtes traversières, Piano
37
Quatuor de Flûtes à bec
36
Flûte, Hautbois, Clarinette (trio)
36
Clarinette, Violon (duo)
35
Clarinette, Basson (duo)
32
Flûte, Violon
31
Flûte, Hautbois, Basson
29
Cor Anglais
27
Ocarina
25
Ensemble De Flûte à bec
24
Instruments en Mib
23
Saxophone Baryton
23
Piccolo, Piano
23
Flûte à bec Alto
23
Clarinette, Trompette (duo)
22
Clarinette, Violoncelle (duo)
21
Flûte, Hautbois (duo)
21
Flûte, Violoncelle
20
Hautbois, Flûte
20
Flûte à bec, Guitare (duo)
20
Flûte, Trompette (duo)
19
Flûte à bec Soprano, Piano
19
Flûte, Alto (duo)
18
Flûte, Saxophone (duo)
17
Flûte à bec Tenor
17
Flûte à Bec, Piano
17
Hautbois, Guitare (duo)
17
Flûte, Clarinette, Piano (trio)
16
Clarinette et Alto
16
Flûte à bec Alto, Piano
15
5 Flûtes à bec
15
Flûte, Trombone (duo)
15
Hautbois, Violoncelle
14
3 Flûtes à bec (trio)
14
3 Hautbois
13
Piccolo
13
Flûte, Violon, Piano
12
2 Saxophones, Piano
11
Flûte, Violoncelle, Piano (trio)
11
2 Clarinettes, Piano
10
2 Cors Anglais Et Pianoforte
9
4 Hautbois
9
Flûte, Clarinette, Cor, Basson (Quartet)
8
Flûte, Violon et Violoncelle
8
Flûte, Basson et Piano
7
Flute, harpe et violon
7
Cor anglais et Harpe (duo)
6
Hautbois, violon (duo)
6
Clarinette Basse
6
Ensemble à vent
6
Flûte, Hautbois, Piano (trio)
5
Hautbois, Harpe
5
Flûte, Harpe et Violoncelle
4
Clarinette, Violoncelle, Piano (trio)
4
Flûte irlandaise
4
Flûte, Alto et Piano
4
Saxophone et Harpe
4
Flûte et Trio à cordes
3
Clarinette, Trombone (duo)
3
Flûte traversière, Orgue (duo)
3
Flûte traversière, Basse continue
3
2 Clarinettes, Basson
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Flûte à bec Alto, Basse continue
2
Hautbois, Violon, Piano
2
Clarinette, trompette et piano
2
Clarinette, Contrebasse (duo)
2
Hautbois, trombone (duo)
2
Hautbois et alto (duo)
2
Flûte, Violon, Violoncelle et Piano
2
Flûte traversière, Orchestre
1
Ensemble de Hautbois
1
2 Flûtes à bec, Guitare
1
Cor anglais, Guitare (duo)
1
Saxophone, Tuba (duo)
1
2 Hautbois, Piano
1
2 Hautbois et Cor anglais
1
Flûte, trombone et piano
1
Flûte, Clarinette, Violon (trio)
1
Flûte de Pan
1
Saxophone et Orchestre
1
Flûte, Tuba (duo)
1
Flûte, alto et harpe
1
Flûte, Hautbois, Violon
1
Saxophone et Orgue
1
Clarinette, Alto et Piano (trio)
1
Clarinette, Tuba
1
Hautbois, Trompette (duo)
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette
948
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
863
Trombone
750
Trompette, Piano
413
Trompette (partie séparée)
408
Trombone et Piano
406
Quatuor de Cuivres : 2 trompettes, trombone, tuba
383
Trombone (partie séparée)
381
Cor
366
Cor et Piano
354
Tuba
185
2 Trompettes (duo)
181
Quatuor de Cuivres
178
Tuba et Piano
177
2 Trombones (duo)
169
Cor (partie séparée)
164
Quatuor de Cuivres: 2 trompettes, Cor, trombone
132
2 Cors (duo)
117
Quatuor de cuivres: 4 trombones
113
Ensemble de Trompettes
107
Cor anglais, Piano
90
Trompette, Trombone (duo)
86
Tuba (partie séparée)
85
Ensemble de Trombones
80
Euphonium, Piano (duo)
77
2 Tubas (duo)
57
Quatuor de cuivres: 4 cors
45
Quatuor de cuivres: 4 trompettes
30
Euphonium
30
Bass Clef Instruments
29
Trompette, Cor (duo)
28
Trompette, Saxophone (duo)
28
Cor Anglais
27
3 Trompettes (trio)
26
Instruments en Sib
25
3 Trombones (trio)
21
Trompette et Guitare
20
Ensemble de Cors
20
Trombone, Tuba (duo)
14
2 Euphoniums (duo)
14
Trombone basse et Piano
12
2 Euphoniums et 2 Tubas
10
Trio de Cuivres
10
Trompette, Basson (duo)
9
Trompette, Violoncelle (duo)
9
2 Cors Anglais Et Pianoforte
9
Cornet A Pistons
8
4 Tubas
8
3 Cors (trio)
8
Trombone basse
8
Cor et Harpe
7
Cor anglais et Harpe (duo)
6
Tuba et Orgue
6
Trompette, Harpe
6
Cor, Violoncelle (duo)
5
Euphonium, Tuba (duo)
5
Instruments en Fa
5
Trombone, Cor (duo)
5
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Trompette, Trombone, Piano
4
Trompette, Violoncelle et Piano
4
Trompette, Tuba (duo)
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Tuba ou Euphonium ou Saxhorn
3
Trombone, Orgue
3
3 Tubas (trio)
3
Cor et Basson (duo)
2
Trompette, Orchestre
1
Cor, Trompette, Trombone (trio)
1
Clarinette, Cor (duo)
1
2 Cors, Piano
1
Cor anglais, Guitare (duo)
1
Trombone et orchestre
1
2 Trompettes, Clavier (piano ou orgue)
1
Trombone, Violon (duo)
1
Ensemble de Tubas
1
Trompette, violon (duo)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1733
Violon et Piano
1055
Violon
988
Violoncelle
769
Violoncelle, Piano
622
Alto seul
587
Harpe
551
Alto, Piano
526
Violon (partie séparée)
356
2 Violons (duo)
302
Violon, Violoncelle (duo)
255
2 Violoncelles (duo)
241
Quintette à cordes: 2 violons, alto, violoncelle, basse
215
Trio à Cordes: violon, alto, violoncelle
207
Alto (partie séparée)
176
Contre Basse
172
2 Altos (duo)
172
Violon, Alto (duo)
165
Contrebasse (partie séparée)
163
Contrebasse, Piano (duo)
152
Trio à Cordes: 2 violons, violoncelle
100
Violoncelle (partie séparée)
83
Violon, Guitare (duo)
76
Harpe, Flûte (duo)
73
Violoncelle , Guitare (duo)
59
Alto, Violoncelle (duo)
55
2 Harpes (duo)
51
2 Contrebasses (duo)
51
4 Violoncelles
48
Trio à cordes: 3 violins
41
Trio à Cordes: 3 violoncelles
36
Trio à cordes
30
Ensemble de Violons
30
Ensemble d'Altos
29
Trio à cordes: 3 altos
27
Piano Trio: Violon, Alto, Piano
26
Quatuor à cordes: 4 violons
19
Trio à Cordes: 2 violons, alto
17
Alto, Guitare (duo)
16
Harpe, Violon (duo)
15
2 Violons, Piano
14
Harpe (partie séparée)
14
Harpe, Voix
12
Violon, Basson (duo)
11
Quintette à cordes : 2 violons, alto et 2 violoncelles
10
Quintette à cordes: 2 violons, 2 altos, violoncelle
10
Quatuor à cordes : 4 altos
10
Harpe et mandoline
9
Harpe, Violoncelle (duo)
9
Violoncelle, Contrebasse (duo)
8
Alto et Harpe
6
Flûte, Contrebasse (duo)
6
Alto et Basson
5
Ensemble de Violoncelles
5
3 Harpes
5
Violon, Clarinette, Piano (trio)
5
Harpe, Violon, Violoncelle
4
Violon, Orgue
3
Autoharp
3
Violoncelle, Orgue
2
2 Altos, Piano
2
2 Violons et Basse continue
2
4 Harpes
2
Harpe, Trombone (duo)
2
5 Harpes
2
Violon, Contrebasse (duo)
1
Violon, Tuba (duo)
1
Harpe et Piano
1
3 Contrebasses
1
Violoncelle, Orchestre
1
4 Contrebasses
1
Violon, Basse continue
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
9723
Orchestre
6004
Ensemble Jazz
3026
Orchestre à Cordes
2395
Percussion
1592
Fanfare
1561
Cloches
763
Percussion (partie séparée)
623
Orchestre de chambre
424
Ensemble de cuivres
282
Batterie
280
Ensemble de Percussions
226
Jazz combo
176
Marimba
139
Batterie (partie séparée)
91
Vibraphone
48
Xylophone
41
Xylophone, Piano
32
Timbales (partie séparée)
31
Timbales
11
2 Xylophones
10
Quintette à Vent
9
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
9
Ensemble d'École
8
Vibraphone (partie séparée)
6
Vibraphone et Marimba
6
Caisse Claire
6
Piano et Orchestre
4
Quintette de Cuivres: autres combinaisons
4
Orchestre, Violon
4
Big band
3
Instrumentation Flexible
3
Xylophone ou Marimba ou Vibraphone
3
Quatuor à Vent : 4 instruments à vents
2
2 Caisses Claires (duo)
1
2 Marimbas
1
Marimba, Saxophone (duo)
1
3 Percussions
1
Marimba, Piano (duo)
1
Marimba ou Xylophone et Piano
1
Instrumentations suivantes
Retracter
AUTRES
Théorie de la musique
17
Formation musicale - Solfège
7
Papeterie
2
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Piano et Orchestre
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Konzertstück F minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4516 Composed by Carl Maria von Web…
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Piano and orchestra - Digital Download SKU: S9.Q4516 Composed by Carl Maria von Weber. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Op. 79. Duration 16 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4516. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4516). Key: F minor.New Edition based on the Weber Complete Edition with a preface by Markus Bandur. 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.
$12.99
11.63 €
#
Piano et Orchestre
#
Carl Maria von Weber
#
Konzertstück F minor
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
Piano et Orchestre
String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang A…
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String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang Amadeus Mozart. Arranged by Santino Cara. Classical. Score and parts. 271 pages. Santino Cara #5197099. Published by Santino Cara (A0.517429). Complete score and parts of the Piano Concerto No.20 in D minor K.466 for Piano solo and Orchestra. Composed in 1785 in Vienna by Wolfgang Amadeus Mozart. Rewritten and elaborated in Rome in 2019 by Santino Cara.
$26.20
23.46 €
#
Piano et Orchestre
#
Wolfgang Amadeus Mozart
#
Santino Cara
#
Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
#
Santino Cara
#
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
21.48 €
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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
Gregory Sullivan Isaacs: Quiet Night for piano and orchestra - score and complete parts
Piano et Orchestre
Composed by Gregory Sullivan Isaacs. 21st Century, Minimalism, Christmas. Score, Set of Pa…
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Composed by Gregory Sullivan Isaacs. 21st Century, Minimalism, Christmas. Score, Set of Parts, Solo Part. 32 pages. Published by Musik Fabrik (S0.136477). - Score,Set of Parts,Solo Part - 21st Century,Minimalism,Christmas - Musik Fabrik
$38.95
34.88 €
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Piano et Orchestre
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Quiet Night for piano and orchestra - score and complete parts
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Musik Fabrik
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SheetMusicPlus
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