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TRI ET FILTRES
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Tri et filtres :
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Non classifié
10998
PIANO & CLAVIERS
Piano seul
8700
Piano, Voix
3351
Piano, Voix et Guitare
3140
Piano Facile
3029
Orgue
760
Instruments en Do
587
1 Piano, 4 mains
272
Piano grosses notes
179
Accordéon
169
Accompagnement Piano
168
Piano Trio: piano, violon, violoncelle
83
2 Pianos, 4 mains
78
Piano (partie séparée)
59
Piano Quatuor: piano, violon, alto, violoncelle
40
Orgue, Piano (duo)
28
Ligne De Mélodie, Piano
23
Clavecin
22
Piano Quatuor: piano, 2 violons, violoncelle
16
Piano Quintette: piano, 2 violons, alto, violoncelle
10
1 Piano, 6 mains
10
Instrument seul et Orgue
8
Orgue, Voix
5
Accordéon, Voix
4
2 Pianos, 8 mains
4
Orgue, Trompette (duo)
4
Clavier
4
2 Accordéons
1
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GUITARES
Guitare notes et tablatures
1704
Ligne De Mélodie, (Paroles) et Accords
876
Guitare
871
Ukulele
426
Paroles et Accords
396
Basse electrique
233
Guitare (partie séparée)
91
2 Guitares (duo)
86
Banjo
51
4 Guitares (Quatuor)
43
Ensemble de guitares
28
Piano, Guitare (duo)
25
Mandoline
24
Dulcimer
20
Guitare Pedal Steel
18
3 Guitares (trio)
16
Ensemble de Ukulélés
10
Basse électrique (partie séparée)
10
Mandoline, Guitare (duo)
9
Ukulele Baryton
7
2 Ukuleles
6
2 Dulcimers (duo)
5
Mandoline, Piano (duo)
2
Partitions De Groupes
2
Orchestre à Plectres
1
Guitare Tab, Voix, Basse, Batterie
1
Guitare, Violon, Violoncelle (trio)
1
Dobro
1
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VOIX
Chorale SATB
2872
Chorale 3 parties
1055
Chorale 2 parties
684
Chorale TTBB
592
Chorale SSAA
352
Chorale Unison
314
Chorale
163
Voix seule
121
Voix duo, Piano
113
Voix Soprano, Piano
84
Voix duo
67
Voix haute
44
Voix Alto, Piano
20
Voix moyenne, Piano
18
Male Voice
15
Voix Tenor, Piano
15
Chorale SSAATTBB
12
Chorale SSATB
9
Voix Mezzo-Soprano, Piano
9
Voix basse, Piano
8
Voix basse
8
Voix Tenor
7
Voix Soprano
6
Chorale SSATTB
6
Voix, Guitare
5
Chorale SAATB A Cappella
4
Chorale SSAB a cappella
3
Soli, choeur mixte et accompagnement
3
Chorale SSAB, Piano
2
Voix Moyenne
2
Voix Baryton, Piano
2
Voix haute, Piano
2
Chorale SSATBB
1
Chorale SSAATB
1
Voix duo, Orgue
1
Instrumentations suivantes
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VENTS
2 Saxophones (duo)
1238
Flûte traversière et Piano
715
Saxophone (partie séparée)
682
Clarinette
653
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
649
Quatuor de Saxophones: 4 saxophones
641
Flûte traversière
636
2 Clarinettes (duo)
573
2 Flûtes traversières (duo)
535
Clarinette et Piano
521
Flûte, Hautbois, Clarinette, Basson
476
Hautbois, Piano (duo)
461
Saxophone, Clarinette (duo)
433
Saxophone Alto et Piano
406
Quintette de Saxophone: 5 saxophones
395
Saxophone Alto
389
Quatuor de Clarinettes: 4 clarinettes
342
Clarinette, Violon (duo)
305
Saxophone Tenor et Piano
287
2 Hautbois (duo)
246
Flûte, Clarinette (duo)
245
Clarinette, Trompette (duo)
244
Saxophone
225
Saxophone Soprano et Piano
208
Hautbois (partie séparée)
197
Saxophone Tenor
184
Clarinette (partie séparée)
177
Quatuor de Flûtes : 4 flûtes
175
Hautbois, Basson (duo)
173
Hautbois, Clarinette (duo)
164
Flûte, Violon
158
Clarinette et Alto
150
Flûte, Saxophone (duo)
144
Saxophone Baryton, Piano
142
Hautbois, Flûte
135
3 Saxophones (trio)
130
2 Flûte à bec (duo)
129
Flûte, Alto (duo)
120
Ensemble de Clarinettes
119
Ensemble de saxophones
117
Flûte, Trompette (duo)
115
Hautbois
108
3 Clarinettes (trio)
103
Trio de Flûtes: 3 flûtes
95
Flute (partie séparée)
90
Ensemble de Flûtes
87
Flûte et Guitare
84
Saxophone Soprano
80
Quintette de Clarinettes: 5 clarinettes
65
Saxophone Baryton
63
Cor anglais, Piano
63
Clarinette, Harpe (duo)
58
Flûte à bec Soprano
57
Hautbois, Clarinette, Basson (trio d'anches)
56
Flûte à Bec
53
Flûte, Hautbois, Clarinette (trio)
52
Harmonica
51
Clarinette Basse, Piano
49
Quatuor de Flûtes à bec
49
Ensemble De Flûte à bec
48
Quintette de Flûte : 5 flûtes
43
Clarinette, Violoncelle (duo)
40
Flûte, Violoncelle
39
Instruments en Mib
36
Clarinette, Guitare (duo)
33
Flûte à bec Alto
30
Clarinette, Basson (duo)
29
Flûte, Violon, Piano
26
Flûte, Clarinette et Basson
25
Flûte à bec Soprano, Piano
24
Cor Anglais
23
Flûte, Hautbois (duo)
23
Flûte à bec Tenor
21
Flûte, Hautbois, Basson
20
Hautbois, Violoncelle
19
Hautbois, Guitare (duo)
17
Ocarina
16
3 Flûtes à bec (trio)
15
Flûte à bec Alto, Piano
14
Clarinette, Trombone (duo)
13
Flûte à Bec, Piano
12
2 Flûtes traversières, Piano
12
Flûte, Clarinette, Cor, Basson (Quartet)
11
Saxophone et Guitare
10
Flûte, Violon et Violoncelle
10
Flûte, Basson et Piano
9
Hautbois, violon (duo)
9
Piccolo, Piano
9
Clarinette Basse
8
2 Saxophones, Piano
8
Flûte, Violoncelle, Piano (trio)
7
Piccolo
6
Cor anglais, Guitare (duo)
6
Flûte, Trombone (duo)
6
3 Hautbois
6
Hautbois et alto (duo)
6
Flûte, Clarinette, Piano (trio)
6
5 Flûtes à bec
5
2 Clarinettes, Piano
5
Flûte traversière, Orgue (duo)
4
2 Clarinettes, Basson
4
Flûte, Violon, Violoncelle et Piano
4
Hautbois, trombone (duo)
4
Flûte, Alto et Piano
3
Flûte, Hautbois, Violon
3
Flûte, Harpe et Violoncelle
3
Flute, harpe et violon
3
Clarinette, Violoncelle, Piano (trio)
3
Ensemble à vent
3
Flûte, Hautbois, Piano (trio)
3
Quintette de Clarinette: Clarinette, Quatuor à Cordes
3
2 Cors Anglais Et Pianoforte
2
Hautbois, Violon, Piano
2
Flûte traversière, Basse continue
2
Saxophone et Harpe
2
Saxophone et Piano
2
Flûte, Tuba (duo)
2
Flûte à bec Soprano, Basse continue
2
Saxophone, Tuba (duo)
2
Flûte à bec, Guitare (duo)
2
Clarinette, Tuba
2
Hautbois, Harpe
2
Saxophone et Orgue
2
Cornemuse
2
Clarinette, Alto et Piano (trio)
1
Harmonica, Piano
1
Flûte, alto et harpe
1
Flûte à bec Alto, Basse continue
1
Clarinette, Orgue
1
Flûte irlandaise
1
Saxophone et violoncelle
1
Flûte, Clarinette, Violon (trio)
1
Clarinette, Basson, Piano (trio)
1
4 Hautbois
1
Hautbois, Orgue
1
Flûte de Pan
1
2 Hautbois et Cor anglais
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Hautbois, Basson et Piano
1
Saxophone, Basson (duo)
1
Clarinette, Contrebasse (duo)
1
Flûte, trombone et piano
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
687
Trompette
552
Trombone
428
Trompette, Piano
372
Trombone et Piano
355
Trompette (partie séparée)
331
Trombone (partie séparée)
330
Quatuor de Cuivres : 2 trompettes, trombone, tuba
303
Trompette, Saxophone (duo)
301
Cor
292
Cor et Piano
283
2 Trompettes (duo)
282
2 Trombones (duo)
277
Trompette, Trombone (duo)
205
Tuba et Piano
200
Quatuor de Cuivres: 2 trompettes, Cor, trombone
191
Tuba
190
Quatuor de Cuivres
147
Quatuor de cuivres: 4 trombones
109
2 Cors (duo)
95
Cor (partie séparée)
92
Tuba (partie séparée)
79
Euphonium, Piano (duo)
75
Cor anglais, Piano
63
Ensemble de Trompettes
59
Ensemble de Trombones
55
Quatuor de cuivres: 4 cors
52
2 Tubas (duo)
40
Trompette, Cor (duo)
38
Bass Clef Instruments
38
2 Euphoniums et 2 Tubas
34
Instruments en Sib
33
Euphonium
32
Cor Anglais
23
4 Tubas
21
Quatuor de cuivres: 4 trompettes
20
2 Euphoniums (duo)
15
Trio de Cuivres
15
3 Trombones (trio)
15
3 Trompettes (trio)
14
Ensemble de Cors
13
Trombone basse et Piano
11
Instruments en Fa
9
Trombone, Tuba (duo)
9
Quatuor de cuivres: 2 trompettes, 2 trombones
8
Trompette, Violoncelle (duo)
8
Trompette, Tuba (duo)
7
Tuba et Orgue
7
Cor anglais, Guitare (duo)
6
Euphonium, Tuba (duo)
6
Trompette, Basson (duo)
5
2 Trompettes, Clavier (piano ou orgue)
5
Trombone, Cor (duo)
5
Cor, Tuba (duo)
5
Cor, Violoncelle (duo)
4
Ensemble de Tubas
4
Cor et Basson (duo)
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
Trombone basse
4
Cornet A Pistons
4
3 Cors (trio)
4
Trompette, Trombone, Piano
3
Trombone, Orgue
3
2 Cors Anglais Et Pianoforte
2
Trompette, violon (duo)
2
Clarinette, Cor (duo)
2
Cor et Harpe
2
Tuba ou Euphonium ou Saxhorn
2
Trompette, Orchestre
2
Cornet et Piano
1
Trompette, Violoncelle et Piano
1
Trompette et Guitare
1
Trombone, Alto (duo)
1
3 Tubas (trio)
1
Trombone, Violon (duo)
1
Trompette, Euphonium (duo)
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1738
Violon et Piano
862
Violon
717
Violoncelle, Piano
559
Alto, Piano
485
Harpe
444
2 Violons (duo)
428
Violon, Violoncelle (duo)
421
Alto seul
403
2 Violoncelles (duo)
330
2 Altos (duo)
313
Violoncelle (partie séparée)
312
Violon, Alto (duo)
308
Violoncelle
283
Trio à Cordes: violon, alto, violoncelle
235
Quintette à cordes: 2 violons, alto, violoncelle, basse
203
Violon (partie séparée)
203
Contre Basse
184
Contrebasse, Piano (duo)
178
Harpe, Flûte (duo)
167
Contrebasse (partie séparée)
143
Alto (partie séparée)
108
Trio à Cordes: 2 violons, violoncelle
104
Alto, Violoncelle (duo)
75
4 Violoncelles
50
2 Harpes (duo)
38
Piano Trio: Violon, Alto, Piano
37
2 Contrebasses (duo)
37
Violon, Guitare (duo)
35
Violoncelle, Contrebasse (duo)
32
Quatuor à cordes: 4 violons
29
Trio à Cordes: 3 violoncelles
26
Trio à cordes: 3 violins
22
Ensemble d'Altos
19
Ensemble de Violons
19
Violoncelle , Guitare (duo)
19
Trio à cordes
16
Quatuor à cordes : 4 altos
16
Harpe, Violon (duo)
14
Violon, Basson (duo)
13
Trio à Cordes: 2 violons, alto
12
Quintette à cordes: 2 violons, 2 altos, violoncelle
12
Trio à cordes: 3 altos
10
Alto, Guitare (duo)
8
Alto et Basson
8
Harpe, Violoncelle (duo)
7
2 Violons, Piano
7
Harpe (partie séparée)
6
Harpe, Violon, Violoncelle
6
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
Violoncelle, Orgue
5
Violon, Clarinette, Piano (trio)
5
Harpe, Voix
5
3 Harpes
4
Harpe, Trombone (duo)
4
2 Violoncelles, Piano
4
Violoncelle, Orchestre
3
Violoncelle, Basse continue
3
Ensemble de Violoncelles
3
3 Contrebasses
3
Harpe, Quatuor à cordes
3
Violon, Orgue
3
5 Harpes
2
Violon, Basse continue
2
Flûte, Contrebasse (duo)
2
2 Violons et Basse continue
1
Harpe et mandoline
1
4 Harpes
1
Harpe et Piano
1
Alto et Harpe
1
Violon, Violoncelle, Clarinette
1
2 Altos, Piano
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
2656
Orchestre à Cordes
805
Orchestre
641
Ensemble Jazz
475
Ensemble de cuivres
377
Cloches
228
Jazz combo
186
Batterie
180
Orchestre de chambre
161
Fanfare
135
Percussion (partie séparée)
123
Ensemble de Percussions
101
Batterie (partie séparée)
91
Marimba
39
Vibraphone
21
Percussion
21
Xylophone
17
Timbales (partie séparée)
17
3 Marimbas
16
Xylophone, Piano
16
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
14
Ensemble d'École
8
Quintette à Vent
8
Vibraphone, Piano
3
2 Xylophones
3
Quatuor à Vent : 4 instruments à vents
3
Piano et Orchestre
3
Instrumentation Flexible
3
Caisse Claire
3
Big band
3
Cajon
3
Vibraphone (partie séparée)
2
2 Marimbas
2
Quintette de Cuivres: autres combinaisons
1
Orchestre, Violon
1
2 Caisses Claires (duo)
1
Xylophone (partie séparée)
1
2 Percussions
1
Instrumentations suivantes
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AUTRES
Théorie de la musique
5
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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.
$32.95
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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)
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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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A Little Bit Of Love
Piano et Orchestre
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Children's Mus…
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Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Children's Music, Christian, Contemporary Christian, Folk Music. Early Intermediate. Sheet Music Single. Published by Exultet Music
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3.64 €
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Piano et Orchestre
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Stephen DeCesare
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A Little Bit Of Love
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Exultet Music
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SheetMusicPlus
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