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FLUTE DE PA…
FORMATION M…
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HARMONICA
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
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UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
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ASIE
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CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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MARIAGE - AMOUR - BA…
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SheetMusicPlus
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débutant
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intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
8692
PIANO & CLAVIERS
Piano seul
7083
Piano Facile
2917
Piano, Voix et Guitare
2735
Piano, Voix
1404
Orgue
591
Instruments en Do
329
1 Piano, 4 mains
216
Piano Trio: piano, violon, violoncelle
159
Piano grosses notes
125
2 Pianos, 4 mains
117
Accompagnement Piano
83
Piano Quintette: piano, 2 violons, alto, violoncelle
69
Piano Quatuor: piano, violon, alto, violoncelle
49
Piano Quatuor: piano, 2 violons, violoncelle
40
Clavecin
37
Piano (partie séparée)
33
Orgue, Piano (duo)
26
Accordéon
19
Orgue, Trompette (duo)
12
1 Piano, 6 mains
5
2 Pianos, 8 mains
5
Accordéon, Piano
4
Clavier
4
Fake Book
2
Ensemble d'Accordéons
2
2 Accordéons
2
Ensemble de Pianos
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
588
Guitare
440
Ligne De Mélodie, (Paroles) et Accords
218
Ukulele
141
2 Guitares (duo)
69
Guitare (partie séparée)
58
Paroles et Accords
57
Piano, Guitare (duo)
56
Basse electrique
37
4 Guitares (Quatuor)
21
Mandoline
19
3 Guitares (trio)
13
Dulcimer
11
Ensemble de guitares
8
Banjo
2
Guitare, Flûte, Clarinette
2
Guitare, Quatuor à cordes
2
Basse électrique (partie séparée)
2
Mandoline, Piano (duo)
1
2 Dulcimers (duo)
1
2 Mandolines (duo)
1
Guitare, Violon, Violoncelle (trio)
1
Ensemble de Ukulélés
1
Cithare
1
Instrumentations suivantes
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VOIX
Chorale SATB
1952
Chorale 3 parties
636
Chorale 2 parties
538
Chorale TTBB
336
Chorale SSAA
249
Chorale Unison
182
Voix duo, Piano
178
Voix duo
56
Pack Instrumental pour Chorale
55
Voix Alto, Piano
54
Voix Baryton, Piano
52
Voix Soprano, Piano
43
Voix Tenor, Piano
36
Voix Tenor
31
Voix Soprano
27
Chorale
25
Voix seule
22
Voix haute
20
Voix basse, Piano
8
Chorale SSAATTBB
6
Chorale SSATB
5
Voix moyenne, Piano
5
Chorale SSAB a cappella
4
Chorale SSATTB
3
Soli, choeur mixte et accompagnement
2
Voix, Guitare
2
Voix Baryton
1
Chorale SSAB, Piano
1
Instrumentations suivantes
Retracter
VENTS
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
892
Flûte traversière et Piano
825
Quatuor de Saxophones: 4 saxophones
774
Clarinette et Piano
730
Flûte, Hautbois, Clarinette, Basson
539
Hautbois, Piano (duo)
506
Saxophone Alto et Piano
482
Clarinette
438
Saxophone (partie séparée)
427
Flûte traversière
424
Quatuor de Clarinettes: 4 clarinettes
414
Quintette de Saxophone: 5 saxophones
352
Clarinette (partie séparée)
319
2 Flûtes traversières (duo)
304
Saxophone Tenor et Piano
302
2 Saxophones (duo)
290
Saxophone Alto
265
Saxophone Soprano et Piano
227
2 Clarinettes (duo)
222
Hautbois (partie séparée)
221
Quatuor de Flûtes : 4 flûtes
198
Ensemble de Clarinettes
174
Saxophone Tenor
171
Ensemble de Flûtes
151
Saxophone Baryton, Piano
134
3 Saxophones (trio)
133
Ensemble de saxophones
123
3 Clarinettes (trio)
114
Flute (partie séparée)
114
Quintette de Clarinettes: 5 clarinettes
105
Flûte, Clarinette (duo)
99
Hautbois
91
Cor anglais, Piano
76
Trio de Flûtes: 3 flûtes
76
Hautbois, Basson (duo)
74
Flûte et Guitare
71
Clarinette Basse, Piano
69
2 Hautbois (duo)
67
Quintette de Flûte : 5 flûtes
55
Flûte, Hautbois, Clarinette (trio)
55
Saxophone, Clarinette (duo)
47
Clarinette, Violon (duo)
46
Flûte à Bec
44
Flûte à bec Soprano
44
Hautbois, Clarinette (duo)
44
Flûte, Violoncelle
43
Flûte, Clarinette et Basson
43
Quatuor de Flûtes à bec
39
Flûte à bec Alto
38
Clarinette et Alto
38
2 Flûtes traversières, Piano
35
Hautbois, Clarinette, Basson (trio d'anches)
34
Clarinette, Basson (duo)
34
2 Flûte à bec (duo)
33
Flûte, Violon
31
Flûte, Violon, Piano
29
Clarinette, Violoncelle (duo)
29
Hautbois, Flûte
29
Flûte, Alto (duo)
27
Saxophone Soprano
26
Piccolo
24
Saxophone et Piano
23
3 Flûtes à bec (trio)
22
Clarinette, Guitare (duo)
22
Clarinette, Trompette (duo)
22
5 Flûtes à bec
21
Flûte, Clarinette, Piano (trio)
21
Saxophone
21
Hautbois, Violoncelle
20
Saxophone Baryton
20
Flûte, Hautbois, Basson
19
Flûte, Saxophone (duo)
19
Flûte, Violon et Violoncelle
17
Clarinette Basse
17
Flûte à bec Tenor
15
Ensemble De Flûte à bec
15
Flûte, Trompette (duo)
14
Clarinette, Violoncelle, Piano (trio)
14
Flûte, Violoncelle, Piano (trio)
13
Cor Anglais
11
Flûte, Alto et Piano
10
Flûte à bec Soprano, Piano
10
Flûte, Clarinette, Cor, Basson (Quartet)
9
2 Saxophones, Piano
9
2 Clarinettes, Piano
8
3 Hautbois
8
Saxophone et Guitare
7
Harmonica
7
Flûte irlandaise
7
Flûte, Hautbois (duo)
7
Hautbois, Guitare (duo)
7
Flûte, Trombone (duo)
6
Flûte, Basson et Piano
6
Clarinette, Harpe (duo)
6
Saxophone et Orgue
6
Hautbois, violon (duo)
6
Ocarina
6
2 Cors Anglais Et Pianoforte
6
Piccolo, Piano
5
2 Clarinettes, Basson
5
Flûte à bec Alto, Piano
5
Clarinette, Basson, Piano (trio)
4
4 Hautbois
4
Hautbois, Harpe
4
Flûte, Alto et Violoncelle
4
Flute, harpe et violon
4
Flûte, Hautbois, Piano (trio)
4
Flûte, alto et harpe
4
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
3
Cor anglais, Guitare (duo)
3
Quintette de Clarinette: Clarinette, Quatuor à Cordes
3
Clarinette, Quatuor à cordes et Piano
3
Saxophone et Harpe
3
Flûte et Quatuor à Cordes
3
Flûte, trombone et piano
3
Hautbois et alto (duo)
3
Clarinette, Orchestre
3
Flûte, Violoncelle, Guitare
2
2 Hautbois, Piano
2
Flûte, Tuba (duo)
2
Flûte à Bec, Piano
2
Clarinette, Trombone (duo)
2
Flûte et Trio à cordes
2
Clarinette, Tuba
2
Clarinette, Orgue
1
Ensemble de Hautbois
1
Flûte, Clarinette, Violon (trio)
1
Flûte, Harpe et Violoncelle
1
Hautbois et Orchestre
1
Flûte, Violon, Violoncelle et Piano
1
Clarinette, Contrebasse (duo)
1
Cor anglais et Harpe (duo)
1
Hautbois, Basson et Piano
1
Instruments en Mib
1
Saxophone, Tuba (duo)
1
Saxophone, Basson (duo)
1
Flûte traversière, Orchestre
1
Clarinette, Alto et Piano (trio)
1
Saxophone, Violon (duo)
1
Flûte traversière, Orgue (duo)
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
722
Trombone et Piano
489
Trompette, Piano
445
Trompette (partie séparée)
411
Trompette
406
Trombone (partie séparée)
399
Quatuor de Cuivres : 2 trompettes, trombone, tuba
385
Cor
360
Cor et Piano
346
Trombone
263
Tuba et Piano
177
Quatuor de Cuivres
160
Tuba
157
Cor (partie séparée)
156
Euphonium, Piano (duo)
148
Quatuor de Cuivres: 2 trompettes, Cor, trombone
122
2 Trompettes (duo)
96
Tuba (partie séparée)
86
Quatuor de cuivres: 4 trombones
78
2 Trombones (duo)
77
Cor anglais, Piano
76
Ensemble de Trombones
70
Ensemble de Trompettes
64
2 Cors (duo)
63
Trompette, Trombone (duo)
56
Quatuor de cuivres: 4 cors
45
2 Euphoniums et 2 Tubas
39
3 Trombones (trio)
33
Trompette, Saxophone (duo)
32
4 Tubas
32
Trompette, Cor (duo)
29
Ensemble de Cors
25
Trio de Cuivres
24
2 Tubas (duo)
21
Tuba et Orgue
16
Quatuor de cuivres: 4 trompettes
16
Euphonium
13
3 Trompettes (trio)
12
Tuba ou Euphonium ou Saxhorn
12
Cor Anglais
11
3 Euphoniums
8
Euphonium, Tuba (duo)
8
Cor et Harpe
8
3 Tubas (trio)
8
Trombone basse
8
Trompette, Tuba (duo)
7
Trombone, Orgue
7
2 Cors Anglais Et Pianoforte
6
Trombone basse et Piano
6
2 Trompettes, Clavier (piano ou orgue)
6
Cor, Violoncelle (duo)
6
Trombone, Cor (duo)
5
Quatuor de cuivres: 2 trompettes, 2 trombones
5
3 Cors (trio)
4
Cor anglais, Guitare (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
2 Cors, Piano
3
Bass Clef Instruments
3
Trompette, violon (duo)
3
2 Euphoniums (duo)
3
Trombone, Violon (duo)
2
Trombone, violoncelle (duo)
2
Trompette, Harpe
2
Trompette, Violoncelle et Piano
2
Trombone, Tuba (duo)
2
Trompette, Violoncelle (duo)
2
Clarinette, Cor (duo)
1
Trombone et orchestre
1
Cor, Violoncelle et Piano
1
Instruments en Sib
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Trompette, Euphonium (duo)
1
Cor anglais et Harpe (duo)
1
Trompette, Trombone, Piano
1
Cor, Tuba (duo)
1
Ensemble de Tubas
1
Cor et Orgue
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2228
Violon et Piano
1062
Violoncelle, Piano
690
Alto, Piano
604
Violon
571
Violoncelle
390
Trio à Cordes: violon, alto, violoncelle
333
Violon, Violoncelle (duo)
311
Violon (partie séparée)
271
Alto seul
268
Harpe
247
Quintette à cordes: 2 violons, alto, violoncelle, basse
216
2 Violons (duo)
205
Violon, Alto (duo)
164
Contrebasse, Piano (duo)
161
Contrebasse (partie séparée)
150
Contre Basse
134
2 Violoncelles (duo)
126
Alto (partie séparée)
110
Trio à Cordes: 2 violons, violoncelle
106
2 Altos (duo)
99
4 Violoncelles
81
Violoncelle (partie séparée)
73
Piano Trio: Violon, Alto, Piano
53
Trio à cordes: 3 violins
48
2 Harpes (duo)
44
Trio à Cordes: 3 violoncelles
41
Quatuor à cordes: 4 violons
41
Alto, Violoncelle (duo)
41
Violon, Guitare (duo)
36
Violoncelle, Contrebasse (duo)
31
Trio à cordes: 3 altos
30
Quatuor à cordes : 4 altos
29
Violon, Basson (duo)
26
2 Violons, Piano
24
Trio à Cordes: 2 violons, alto
21
Harpe, Flûte (duo)
20
Violoncelle , Guitare (duo)
19
Quintette à cordes: 2 violons, 2 altos, violoncelle
17
Trio à cordes
14
2 Violoncelles, Piano
13
Alto, Guitare (duo)
11
Ensemble de Violons
11
Quintette à cordes : 2 violons, alto et 2 violoncelles
11
Harpe, Violon (duo)
11
Violoncelle, Orchestre
9
Ensemble d'Altos
9
Harpe, Violoncelle (duo)
8
Flûte, Contrebasse (duo)
8
2 Contrebasses (duo)
7
Violon, Clarinette, Piano (trio)
7
2 Altos, Piano
6
Harpe, Trombone (duo)
5
4 Contrebasses
5
Harpe et Piano
4
Alto et Harpe
4
Violoncelle, Orgue
3
Ensemble de Violoncelles
3
Violon, Violoncelle, Clarinette
3
Violon, Orgue
3
Alto et orchestre
2
3 Contrebasses
2
Violon, Basse continue
1
Harpe, Quatuor à cordes
1
Harpe (partie séparée)
1
Alto et Basson
1
4 Harpes
1
Violoncelle, Basse continue
1
Harpe et mandoline
1
Harpe, Orchestre
1
3 Harpes
1
Harpe, Violon, Violoncelle
1
Harpe, Voix
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
3520
Orchestre
1499
Orchestre à Cordes
1400
Orchestre de chambre
435
Fanfare
420
Ensemble de cuivres
331
Ensemble Jazz
256
Cloches
220
Percussion (partie séparée)
172
Ensemble de Percussions
73
Batterie
60
Jazz combo
57
Batterie (partie séparée)
50
Timbales (partie séparée)
36
Marimba
29
Percussion
24
Timbales
14
Vibraphone
14
Piano et Orchestre
12
Quintette à Vent
11
Xylophone, Piano
9
Vibraphone (partie séparée)
7
Orchestre, Violon
6
Vibraphone et Marimba
5
Quintette de Cuivres: autres combinaisons
3
Xylophone
3
Marimba, Piano (duo)
2
Ensemble d'École
2
2 Xylophones
2
Big band
1
2 Caisses Claires (duo)
1
Xylophone (partie séparée)
1
2 Marimbas
1
Voix Mezzo-Soprano, Orchestre
1
Conga
1
Instrumentations suivantes
Retracter
AUTRES
Formation musicale - Solfège
2
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Partitions à imprimer
12 partitions trouvées
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1
Fantasia for Piano and Orchestra
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: A0.1069115 Composed by Joseph Hull. Contemporary. Full Performance. Duration 318. Genesis #3514027. Published by Genesis (A0.1069115). This is the third movement from Fantasia for Piano and Orchestra. The full work contains four movements. .
$1.99
1.81 €
#
Piano et Orchestre
#
Joseph Hull
#
Fantasia for Piano and Orchestra
#
Genesis
#
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
3.63 €
#
Piano et Orchestre
#
Joseph Hull
#
Ballade for Piano and Orchestra No.1
#
Genesis
#
SheetMusicPlus
Concerto No. 23 A major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21388 Composed by Wolfgang Amadeus …
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Piano and orchestra - Digital Download SKU: S9.Q21388 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21388. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21388). Key: A major. German • English.Mozart’s Piano Concerto in A major is one of his most popular and frequently performed works. The four movements are characterised by contrast: simple and clear, melancholy and insistent, powerful and playful, and a grand finale.
$12.99
11.83 €
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Piano et Orchestre
#
Wolfgang Amadeus Mozart
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Concerto No. 23 A major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
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
30 €
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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)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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21.84 €
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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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Jazz Brazilian Piano Concerto No 1 in Three Movements (Full Score Only)
Piano et Orchestre
Composed by James Nathaniel Holland. Jazz, Latin Jazz, Bossa Nova, Latin, South American. …
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Composed by James Nathaniel Holland. Jazz, Latin Jazz, Bossa Nova, Latin, South American. Score. 142 pages. Published by James Nathaniel Holland (S0.221491). - Score - Jazz,Latin Jazz,Bossa Nova,Latin,South American - James Nathaniel Holland
$21.95
19.99 €
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Piano et Orchestre
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James Nathaniel Holland
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Jazz Brazilian Piano Concerto No 1 in Three Movements
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James Nathaniel Holland
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SheetMusicPlus
Listen To The Mocking Bird
Piano et Orchestre
By Stephen DeCesare. For Piano, Voice, Flute, Choral. Children's Music, Movies/TV, Ro…
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Children's Music, Movies/TV, Romantic Period, Folk Music, World. Early Intermediate. Sheet Music Single. Published by Exultet Music
$3.99
3.63 €
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Piano et Orchestre
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Stephen DeCesare
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Listen To The Mocking Bird
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Exultet Music
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SheetMusicPlus
The "What's Your Answer?" Game Show (Fairy Tale Edition)
Piano et Orchestre
By Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Secular, Children…
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Secular, Children's Music, Movies/TV, 21st Century. Early Intermediate. Sheet Music Single. Published by Exultet Music
$3.99
3.63 €
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Piano et Orchestre
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Stephen DeCesare
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The "What's Your Answer?" Game Show
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Exultet Music
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SheetMusicPlus
The "What's Your Answer?" Game Show (School Edition)
Piano et Orchestre
By Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Secular, Children…
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Secular, Children's Music, Movies/TV, 21st Century. Early Intermediate. Sheet Music Single. Published by Exultet Music
$4.95
4.51 €
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Piano et Orchestre
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Stephen DeCesare
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The "What's Your Answer?" Game Show
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Exultet Music
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SheetMusicPlus
The "What's Your Answer?" Game Show (Religious Edition)
Piano et Orchestre
By Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Sacred, Secular, Chil…
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Sacred, Secular, Children's Music, Movies/TV. Early Intermediate. Sheet Music Single. Published by Exultet Music
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4.51 €
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Piano et Orchestre
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Stephen DeCesare
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The "What's Your Answer?" Game Show
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Exultet Music
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SheetMusicPlus
Le Vent, Le Cri - Ennio Morricone
Piano et Orchestre
Piano and String Orchestra - Advanced Intermediate - Digital Download By Ennio Morric…
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Piano and String Orchestra - Advanced Intermediate - Digital Download By Ennio Morricone. Arranged by Armand Broshka. Score, Set of Parts. 62 pages. Published by Armand Broshka
"Le Vent, Le Cri" soundtrack from the motion picture "Le Professionnel" The Professional composed by Ennio Morricone.<br> This version is identical to that of the movie and the attached YouTube link. (This is an professional score)"Le Vent, Le Cri" soundtrack from the motion picture "Le Professionnel" The Professional composed by Ennio Morricone.<br> This version is identical to that of the movie and the attached YouTube link. (This is an professional score)
$99.99
91.05 €
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Piano et Orchestre
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Ennio Morricone
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Le Vent, Le Cri - Ennio Morricone
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