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PARTITIONS GRATUITES
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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Gratuites
38
Partitions
Numériques
27
Librairie
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348
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de Musique
139 872
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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
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
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
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
38891
PIANO & CLAVIERS
Piano seul
36859
Piano, Voix
35179
Piano, Voix et Guitare
12294
Piano Facile
10434
Orgue
3088
Instruments en Do
2040
1 Piano, 4 mains
1250
Accompagnement Piano
790
Accordéon
662
Piano grosses notes
632
Piano Trio: piano, violon, violoncelle
593
2 Pianos, 4 mains
336
Piano Quatuor: piano, violon, alto, violoncelle
241
Piano (partie séparée)
171
Piano Quintette: piano, 2 violons, alto, violoncelle
161
Piano Quatuor: piano, 2 violons, violoncelle
125
Orgue, Trompette (duo)
91
Ligne De Mélodie, Piano
56
Orgue, Piano (duo)
56
Clavecin
50
Clavier
36
Instrument seul et Orgue
35
Accordéon, Voix
32
1 Piano, 6 mains
31
2 Pianos, 8 mains
17
Ensemble d'Accordéons
9
Orgue, Voix
6
2 Accordéons
6
Fake Book
3
Accordéon et Orchestre
3
Accordéon, Corde(s)
2
Tous Les Instruments
1
Concertina
1
Orgue et Orchestre
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
5800
Guitare
4117
Ligne De Mélodie, (Paroles) et Accords
3614
Ukulele
1561
Paroles et Accords
1450
Mandoline
1342
Basse electrique
1101
2 Guitares (duo)
572
4 Guitares (Quatuor)
270
Guitare (partie séparée)
187
Piano, Guitare (duo)
124
Banjo
111
3 Guitares (trio)
97
Dulcimer
90
Ensemble de guitares
82
Mandoline, Piano (duo)
79
Mandoline, Guitare (duo)
66
Basse électrique (partie séparée)
47
Ukulele Baryton
33
Guitare, Violon, Violoncelle (trio)
24
Ensemble de Ukulélés
21
Partitions De Groupes
17
2 Dulcimers (duo)
13
2 Mandolines (duo)
11
2 Ukuleles
10
Orchestre à Plectres
8
Guitare Pedal Steel
8
Dobro
7
3 Dulcimers (trio)
6
Luth
4
Guitare, Flûte, Clarinette
4
2 Guitares et Orchestre
4
Guitare, Quatuor à cordes
3
Guitare Tab, Voix, Basse, Batterie
2
Bouzouki
2
Cithare
1
Guitare, Orchestre
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
10036
Chorale 3 parties
4097
Chorale 2 parties
2835
Chorale TTBB
2566
Voix seule
1275
Chorale Unison
1256
Pack Instrumental pour Chorale
1241
Chorale SSAA
1157
Voix duo, Piano
941
Voix haute
501
Chorale
458
Voix duo
449
Voix Soprano, Piano
352
Voix basse, Piano
347
Voix Tenor, Piano
209
Voix Moyenne
187
Voix Baryton, Piano
175
Voix Alto, Piano
167
Voix moyenne, Piano
141
Chorale SSAATTBB
59
Chorale SSATB
52
Chorale SSATTB
48
Voix, Guitare
48
Voix Mezzo-Soprano, Piano
45
Voix Tenor
28
Voix Soprano
23
Chorale SSAB a cappella
14
Soli, choeur mixte et accompagnement
13
Voix basse
13
Chorale SSAATB
8
Chorale SATBB
6
Chorale SSAB, Piano
5
Voix Soprano, Orchestre
5
Voix et basse continue
4
Voix haute, Piano
4
Chorale, Orgue
4
Voix d'Enfants
3
Chorale SSAATB A Cappella
1
Male Voice
1
Voix (avec Boîtes d'Accords)
1
Chorale SATTBB A Cappella
1
Chorale SAATB A Cappella
1
Voix Baryton
1
Instrumentations suivantes
Retracter
VENTS
Flûte traversière et Piano
4047
Quatuor de Saxophones: 4 saxophones
2712
Clarinette et Piano
2689
Flûte traversière
2649
Saxophone (partie séparée)
2462
Clarinette
2414
2 Saxophones (duo)
2293
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2246
Hautbois, Piano (duo)
1945
Saxophone Alto et Piano
1903
Quatuor de Clarinettes: 4 clarinettes
1622
Flûte, Hautbois, Clarinette, Basson
1621
Saxophone Alto
1592
2 Flûtes traversières (duo)
1392
Saxophone Tenor et Piano
1337
2 Clarinettes (duo)
1324
Saxophone
1319
Saxophone Tenor
1308
Saxophone Soprano et Piano
1025
Clarinette (partie séparée)
947
Quatuor de Flûtes : 4 flûtes
914
Quintette de Saxophone: 5 saxophones
814
Hautbois (partie séparée)
796
3 Saxophones (trio)
681
Flûte, Clarinette (duo)
591
Flûte et Guitare
566
Ensemble de Clarinettes
553
3 Clarinettes (trio)
519
Ensemble de saxophones
506
Saxophone, Clarinette (duo)
473
Flute (partie séparée)
457
2 Hautbois (duo)
452
Saxophone Baryton, Piano
448
Clarinette, Violon (duo)
423
Quintette de Clarinettes: 5 clarinettes
413
2 Flûte à bec (duo)
386
Trio de Flûtes: 3 flûtes
365
Cor anglais, Piano
360
Flûte à Bec
358
Ensemble de Flûtes
350
Hautbois, Basson (duo)
333
Flûte, Violon
315
Hautbois, Clarinette (duo)
290
Hautbois
289
Clarinette, Trompette (duo)
267
Clarinette Basse, Piano
191
Clarinette et Alto
190
Saxophone Soprano
190
Flûte à bec Soprano
183
Hautbois, Flûte
177
Quatuor de Flûtes à bec
174
Flûte, Clarinette et Basson
174
Quintette de Flûte : 5 flûtes
173
Flûte, Violon, Piano
172
Clarinette, Guitare (duo)
169
Flûte, Trompette (duo)
168
Flûte, Saxophone (duo)
168
Flûte, Alto (duo)
159
Clarinette, Basson (duo)
159
Flûte, Hautbois, Clarinette (trio)
157
Instruments en Mib
152
Flûte, Violoncelle
128
Hautbois, Clarinette, Basson (trio d'anches)
123
Flûte, Hautbois (duo)
122
Flûte à bec Alto
108
Flûte, Hautbois, Basson
108
Ocarina
107
2 Flûtes traversières, Piano
100
Clarinette, Violoncelle (duo)
89
3 Flûtes à bec (trio)
78
Cor Anglais
76
Flûte à bec Soprano, Piano
75
Flûte à bec Alto, Piano
74
3 Hautbois
73
Saxophone Baryton
72
Flûte, Violoncelle, Piano (trio)
71
Harmonica
68
Flûte, Clarinette, Piano (trio)
66
Hautbois, violon (duo)
66
Hautbois, Violoncelle
63
2 Clarinettes, Piano
61
Flûte, Basson et Piano
56
Ensemble De Flûte à bec
54
2 Saxophones, Piano
53
5 Flûtes à bec
53
Piccolo
51
Saxophone et Piano
50
Clarinette Basse
49
Flûte à bec Tenor
48
Flûte, Trombone (duo)
48
Flûte, Hautbois, Piano (trio)
48
Flûte, Violon et Violoncelle
47
Clarinette, Trombone (duo)
45
Saxophone et Guitare
44
Flûte à Bec, Piano
43
Clarinette, Violoncelle, Piano (trio)
42
4 Hautbois
36
Piccolo, Piano
35
Clarinette, Harpe (duo)
35
Hautbois, Guitare (duo)
33
Flûte, Clarinette, Cor, Basson (Quartet)
31
Flûte à bec, Guitare (duo)
31
Flûte à bec Alto, Basse continue
27
Cor anglais, Guitare (duo)
25
Saxophone et Orgue
25
Saxophone, Violon (duo)
24
Hautbois, Trompette (duo)
23
Clarinette, Basson, Piano (trio)
23
Flute, harpe et violon
20
Flûte et Trio à cordes
19
Flûte, Clarinette, Violon (trio)
19
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
19
Flûte traversière, Orgue (duo)
19
Flûte, Alto et Piano
19
Saxophone, Basson (duo)
18
Hautbois et alto (duo)
17
2 Clarinettes, Basson
17
Saxophone et Harpe
15
Clarinette, Alto et Piano (trio)
15
Flûte, Violon, Guitare
14
Flûte, Hautbois, Violon
14
Saxophone et violoncelle
14
Hautbois, Violin, Alto et Violoncelle (Quatuor)
13
Hautbois, trombone (duo)
13
Hautbois, Harpe
12
Flûte, Violon, Violoncelle et Piano
12
Flûte et Quatuor à Cordes
12
Harmonica, Piano
11
Flûte irlandaise
10
Flûte, trombone et piano
10
Flûte, Harpe et Violoncelle
9
Flûte traversière, Basse continue
9
Clarinette, trompette et piano
9
2 Cors Anglais Et Pianoforte
9
Flûte, Violoncelle, Guitare
9
Clarinette, Orgue
8
Quintette de Clarinette: Clarinette, Quatuor à Cordes
8
Ensemble à vent
8
Hautbois, Violon, Piano
8
Flûte traversière, Orchestre
7
Flûte, Alto et Violoncelle
7
Hautbois, Basson et Piano
7
Flûte, Tuba (duo)
6
Ensemble de Hautbois
6
Flûte, alto et harpe
6
Flûte à bec Soprano, Basse continue
5
Clarinette, Orchestre
5
2 Flûtes à bec, Piano
5
Hautbois, Clarinette et Piano (Trio)
4
Flûte de Pan
4
Cornemuse
4
Hautbois, Violoncelle et Piano
4
Hautbois, Orgue
3
Clarinette, Quatuor à cordes et Piano
3
Clarinette, Contrebasse (duo)
3
Clarinette, Tuba
3
2 Hautbois et Basson
2
Hautbois et Orchestre
2
Cor anglais et Harpe (duo)
2
2 Hautbois et Cor anglais
2
Flûte, Guitare, Piano
2
2 Hautbois, Piano
2
2 Flûtes à bec, Guitare
1
Flute, Cor (duo)
1
2 Flûtes traversières, Guitare
1
Flute, alto, violoncelle et guitare
1
2 Flûtes, Basse continue
1
Flûte à bec, Harpe
1
2 Hautbois, 2 Cors et 2 Bassons
1
2 Flûtes traversières, Harpe
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette
2466
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2405
Trombone
1905
Trompette (partie séparée)
1718
Trompette, Piano
1651
Trombone et Piano
1538
Trombone (partie séparée)
1456
Cor
1235
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1226
Cor et Piano
1175
2 Trompettes (duo)
687
2 Trombones (duo)
619
Quatuor de Cuivres: 2 trompettes, Cor, trombone
575
Tuba et Piano
571
Tuba
525
Quatuor de Cuivres
475
Trompette, Trombone (duo)
435
Quatuor de cuivres: 4 trombones
404
Cor (partie séparée)
390
Trompette, Saxophone (duo)
380
Euphonium, Piano (duo)
362
Cor anglais, Piano
360
Quatuor de cuivres: 4 cors
337
2 Cors (duo)
308
Tuba (partie séparée)
251
Ensemble de Trombones
235
Euphonium
174
Instruments en Sib
151
Ensemble de Trompettes
143
Trompette, Cor (duo)
140
Bass Clef Instruments
136
2 Euphoniums et 2 Tubas
134
Trio de Cuivres
119
3 Trombones (trio)
97
Ensemble de Cors
89
2 Tubas (duo)
86
Quatuor de cuivres: 4 trompettes
79
Cor Anglais
76
3 Trompettes (trio)
70
4 Tubas
66
Trombone, Cor (duo)
50
Euphonium, Tuba (duo)
47
Tuba ou Euphonium ou Saxhorn
45
Trombone basse et Piano
42
Trombone basse
38
Tuba et Orgue
38
Trompette, violon (duo)
36
Trombone, Tuba (duo)
35
Trompette, Tuba (duo)
35
Trompette, Basson (duo)
33
Trombone, violoncelle (duo)
32
Cor, Violoncelle (duo)
31
Trombone, Violon (duo)
28
Cor, Tuba (duo)
27
Trompette, Violoncelle (duo)
25
Cor anglais, Guitare (duo)
25
2 Trompettes, Clavier (piano ou orgue)
23
Trombone, Orgue
22
2 Euphoniums (duo)
21
3 Cors (trio)
21
Trompette, Trombone, Piano
20
Cor et Basson (duo)
19
Quatuor de cuivres: 2 trompettes, 2 trombones
17
Cor et Harpe
16
3 Tubas (trio)
16
Trompette et Guitare
15
Cornet A Pistons
14
Trompette, Violoncelle et Piano
12
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
11
Instruments en Fa
11
Trombone, Alto (duo)
11
2 Trombones, Piano
10
Trompette, Harpe
9
2 Cors Anglais Et Pianoforte
9
3 Euphoniums
7
Cor et Orgue
6
Euphonium (partie séparée)
6
Trombone et orchestre
5
Trompette, Orchestre
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Cor, Orchestre
3
Ensemble de Tubas
3
2 Cors, Piano
3
Clarinette, Cor (duo)
2
Cor, Violoncelle et Piano
2
Trompette, Euphonium (duo)
2
Cor anglais et Harpe (duo)
2
Cor, Trompette, Trombone (trio)
2
4 Euphoniums
1
Cornet et Piano
1
Bugle
1
Cornet et orchestre
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
7803
Violon et Piano
5121
Violoncelle, Piano
3326
Violon
3312
Alto, Piano
2388
Violoncelle
2161
Alto seul
1541
Harpe
1473
Violon, Violoncelle (duo)
1400
2 Violons (duo)
1329
Trio à Cordes: violon, alto, violoncelle
1103
Violon (partie séparée)
1086
2 Violoncelles (duo)
965
Violon, Alto (duo)
688
2 Altos (duo)
639
Contrebasse, Piano (duo)
540
Quintette à cordes: 2 violons, alto, violoncelle, basse
515
Contre Basse
491
Trio à Cordes: 2 violons, violoncelle
477
Contrebasse (partie séparée)
476
Alto (partie séparée)
474
4 Violoncelles
343
Violon, Guitare (duo)
299
Violoncelle (partie séparée)
288
Alto, Violoncelle (duo)
288
Trio à cordes: 3 violins
249
Violoncelle , Guitare (duo)
235
Trio à Cordes: 3 violoncelles
200
Piano Trio: Violon, Alto, Piano
192
Quatuor à cordes: 4 violons
161
Alto, Guitare (duo)
120
Quatuor à cordes : 4 altos
119
2 Harpes (duo)
114
2 Contrebasses (duo)
112
Trio à cordes: 3 altos
88
Trio à Cordes: 2 violons, alto
85
Trio à cordes
84
2 Violons, Piano
83
Harpe, Flûte (duo)
81
Harpe, Violon (duo)
72
Violon, Basson (duo)
66
Violoncelle, Contrebasse (duo)
63
Alto et Basson
52
Quintette à cordes: 2 violons, 2 altos, violoncelle
37
2 Violoncelles, Piano
30
Violon, Orgue
29
Harpe, Violoncelle (duo)
28
4 Contrebasses
25
Harpe et mandoline
24
Harpe, Voix
23
Ensemble de Violons
23
Violon, Clarinette, Piano (trio)
22
Violoncelle, Orchestre
21
Ensemble de Violoncelles
20
Ensemble d'Altos
20
2 Altos, Piano
19
Violoncelle, Orgue
19
Violon, Basse continue
18
Alto et Harpe
17
Harpe et Piano
15
Flûte, Contrebasse (duo)
13
3 Contrebasses
12
Quintette à cordes : 2 violons, alto et 2 violoncelles
11
Harpe, Violon, Violoncelle
9
Harpe, Trombone (duo)
7
Alto, Orgue
7
Harpe (partie séparée)
6
Violon, Tuba (duo)
5
Autoharp
5
Alto et orchestre
5
Violon, Violoncelle, Clarinette
3
2 Violons et Basse continue
2
Harpe, Orchestre
2
Violon, Contrebasse (duo)
2
Harpe, Quatuor à cordes
1
Violon, Trompette et Piano
1
3 Harpes
1
Violoncelle, Basse continue
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
7117
Orchestre
3601
Orchestre à Cordes
3302
Ensemble Jazz
2101
Ensemble de cuivres
1492
Fanfare
1245
Cloches
1165
Orchestre de chambre
1042
Batterie
914
Percussion (partie séparée)
616
Percussion
273
Jazz combo
272
Ensemble de Percussions
245
Batterie (partie séparée)
214
Marimba
114
Timbales (partie séparée)
99
Vibraphone
80
Xylophone
74
Quintette à Vent
52
Xylophone, Piano
48
Timbales
46
Orchestre, Violon
28
Piano et Orchestre
27
Vibraphone (partie séparée)
27
Instrumentation Flexible
22
Quatuor à Vent : 4 instruments à vents
20
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
12
Ensemble d'École
11
Marimba, Piano (duo)
10
Caisse Claire
10
Quintette de Cuivres: autres combinaisons
8
2 Xylophones
6
Xylophone (partie séparée)
5
Big band
4
3 Marimbas
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Xylophone ou Marimba ou Vibraphone
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Bongos
2
Cajon
2
Voix et Orchestre
2
2 Marimbas
2
Vibraphone et Marimba
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Conga
1
3 Percussions
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2 Caisses Claires (duo)
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Marimba et Orgue
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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
91.26 €
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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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SheetMusicPlus
Klavierkonzert in C-Dur, Opus 7
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedr…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedrich Kuhlau. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 7. 191 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-055-5). ISBN 9790501790555.Exhibiting a natural talent for pastiche and an almost overwhelming abundance of original musical thought the Piano Concerto in C opus 7 took Beethoven's famous Piano Concerto in C opus 15 as its inspiration. Premiere performances of the concerto in Copenhagen 1811, secured a future for the German born composer as a Danish Romantic icon for future generations and this concerto is part of his legacy: as fresh and serene today as the day of its first performance.
$26.95
24.6 €
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Piano et Orchestre
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Friedrich Kuhlau
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Klavierkonzert in C-Dur, Opus 7
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Bisel Classics - Digital
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SheetMusicPlus
Kirculescu (Nicolae) - Moment muzical pt pian si orchestra (Musical moment for piano and orchestra)
Piano et Orchestre
Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067…
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Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067 Composed by Nicolae Kirculescu. Arranged by Andrei Lucian Drăgoi. 20th Century,Contemporary,Standards. 3 pages. Andrei-Lucian Dragoi #6188049. Published by Andrei-Lucian Dragoi (A0.913067). Composed for piano and orchestra by: Nicolae Kirculescu (Romanian composer) (1903-1985)
$2.00
1.83 €
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Piano et Orchestre
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Nicolae Kirculescu
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Andrei Lucian Drăgoi
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Kirculescu
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Andrei-Lucian Dragoi
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SheetMusicPlus
Concerto No. 1 E minor
Piano et Orchestre
Piano and Orchestra - Digital Download SKU: S9.Q4621 Composed by Frederic Chopin. T…
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Piano and Orchestra - Digital Download SKU: S9.Q4621 Composed by Frederic Chopin. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. New URTEXT Edition. Downloadable, Study score. Op. 11. Ernst Eulenburg & Co. GmbH - Digital #Q4621. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4621). Key: E minor.Klavierkonzert Nr. 1 e-Moll op. 11Seine unausgesprochenen Gefühle unerfüllter Liebe, die er für die Sängern Konstanze Gładkowska hegte, hatte Chopin bereits im f-Moll-Konzert zu verarbeiten versucht, doch die Sehnsucht scheint sich auch im zweiten Satz des e-Moll-Konzertes widerzuspiegeln: Die Romanze „… soll wie das milde Hinblicken auf eine Stätte wirken, die tausend süße Erinnerungen wachruft, wie eine Träumerei in einer schönen, mondbeglänzten Frühlingsnacht.
$15.99
14.59 €
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Piano et Orchestre
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Frederic Chopin
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Concerto No. 1 E minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Piano Concerto A minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21382 Composed by Robert Schumann. …
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Piano and orchestra - Digital Download SKU: S9.Q21382 Composed by Robert Schumann. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Op. 54. Ernst Eulenburg & Co. GmbH - Digital #Q21382. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21382). Key: A minor.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.
$16.99
15.51 €
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Piano et Orchestre
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Robert Schumann
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Piano Concerto A minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Gesellschafts Rondo, Opus 117
Piano et Orchestre
Composed by Johann Nepomuk Hummel (1778-1837). Edited by Stephen Begley. This edition: sof…
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Composed by Johann Nepomuk Hummel (1778-1837). Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 117. 90 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-124-8). - score - - Bisel Classics - Digital
$26.95
24.6 €
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Piano et Orchestre
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Johann Nepomuk Hummel
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Gesellschafts Rondo, Opus 117
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Bisel Classics - Digital
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SheetMusicPlus
Piano Concerto No. 2
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4499 Bb major. Composed by J…
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Piano and orchestra - Digital Download SKU: S9.Q4499 Bb major. Composed by Johannes Brahms. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 83. Ernst Eulenburg & Co. GmbH - Digital #Q4499. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4499). Key: B flat major. German • English • French.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.
$13.99
12.77 €
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Piano et Orchestre
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Johannes Brahms
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Piano Concerto No. 2
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Piano Concerto A minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q12481 Composed by Edvard Grieg. Thi…
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Piano and orchestra - Digital Download SKU: S9.Q12481 Composed by Edvard Grieg. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 16. Duration 30 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q12481. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12481). Key: A minor. German • English • French.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.
$13.99
12.77 €
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Piano et Orchestre
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Edvard Grieg
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Piano Concerto A minor
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Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Concerto No. 1 D minor
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q12480 Composed by Johannes Brahms. …
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Piano and orchestra - Digital Download SKU: S9.Q12480 Composed by Johannes Brahms. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 15. Ernst Eulenburg & Co. GmbH - Digital #Q12480. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12480). Key: D minor. German • English • French.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.
$13.99
12.77 €
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Piano et Orchestre
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Johannes Brahms
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Concerto No. 1 D minor
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Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Piano Concerto No. 2 A major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4502 Composed by Franz Liszt. This …
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Piano and orchestra - Digital Download SKU: S9.Q4502 Composed by Franz Liszt. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 15 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4502. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4502). Key: A major. German • English.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.
$15.99
14.59 €
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Piano et Orchestre
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Franz Liszt
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Piano Concerto No. 2 A major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Concerto No. 1
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q54443 Composed by Carl Maria von We…
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Piano and orchestra - Digital Download SKU: S9.Q54443 Composed by Carl Maria von Weber. Arranged by Friedrich Gustav Jansen. This edition: vocal score (also full score). Downloadable, Piano reduction. Op. 11. Duration 20 minutes. Musikverlag Robert Lienau - Digital #Q54443. Published by Musikverlag Robert Lienau - Digital (S9.Q54443). German • English • French.
$15.99
14.59 €
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Piano et Orchestre
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Carl Maria von Weber
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Friedrich Gustav Jansen
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Concerto No. 1
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Musikverlag Robert Lienau - Digital
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SheetMusicPlus
Concerto in C-Moll, Opus 12
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabrie…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabriel Pierne. Edited by Jenni Pinnock. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 12. 166 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-049-4). ISBN 9790501790494.Gabriel Pierne became well known as a conductor in Paris in the early 20 century; however, his compositional output became overshadowed by that of his contemporaries, including Saint-Saens. This early Concerto in c-moll is a hidden treasure, featuring virtuosic piano writing, powerful themes, and orchestral accompaniment that allows the brilliance of the soloist to shine through.
$26.95
24.6 €
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Piano et Orchestre
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Gabriel Pierne
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Concerto in C-Moll, Opus 12
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Bisel Classics - Digital
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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
11.86 €
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Piano et Orchestre
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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
30.07 €
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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
Piano Concerto ... Mozartiana (2007) for piano solo and chamber orchestra
Piano et Orchestre
By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Perio…
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By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Period, 20th Century, 21st Century. Advanced Intermediate. Score. 2 Flute (2. also piccolo) 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French horns 2 Trumpets in Bb 2 Tromb
$9.99
9.12 €
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Piano et Orchestre
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Thomas Oboe Lee
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Piano Concerto ... Mozartiana
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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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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Diamond Dust
Piano et Orchestre
By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and p…
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By Jeff Beck. By Bernie Holland. Arranged by Roger Hudson. Contemporary. Score and parts. 19 pages. Roger Hudson Music #5219395. Published by Roger Hudson Music
Featured on Jeff Beck\'s Blow by Blow album. Composed by Bernie Holland. This arrangement by Roger Hudson for the Music City Youth Orchestra and electric violinist Tracy Silverman. MCYO directed by Walter Bitner. Performed at Schermerhorn Symphony Center, Nashville, May 2011 .Featured on Jeff Beck\'s Blow by Blow album. Composed by Bernie Holland. This arrangement by Roger Hudson for the Music City Youth Orchestra and electric violinist Tracy Silverman. MCYO directed by Walter Bitner. Performed at Schermerhorn Symphony Center, Nashville, May 2011 .
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Piano et Orchestre
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Jeff Beck
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Roger Hudson
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Diamond Dust
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Roger Hudson Music
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Cradled In A Lowly Manger
Piano et Orchestre
By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Chri…
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian, Christmas. Early Intermediate. Sheet Music Single. Published by Exultet Music
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Piano et Orchestre
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Stephen DeCesare
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Cradled In A Lowly Manger
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Exultet Music
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Concerto No. 7 (Anniversary Concerto) for Piano and Orchestra
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Advanced. Pian…
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Advanced. Piano Reduction. Classical Video Concepts, Inc #M-YC7. Published by Classical Video Concepts, Inc
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 7
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Classical Video Concepts, Inc
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Concerto No. 3 (Maryland Concerto) for Piano and Orchestra
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Early Intermed…
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Early Intermediate. Piano Reduction. Classical Video Concepts, Inc #M-YC3. Published by Classical Video Concepts, Inc
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 3
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Classical Video Concepts, Inc
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Concerto No. 9 (Boston Concerto) for Piano and Orchestra
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner.…
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Easy/Beginner. Piano Reduction. Classical Video Concepts, Inc #M-YC9. Published by Classical Video Concepts, Inc
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 9
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Concerto No. 2 (Ukrainian Concerto) for Piano and Orchestra
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Romantic Period. Advanced Intermediate. Piano…
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period. Advanced Intermediate. Piano Reduction. Classical Video Concepts, Inc #M-YC2. Published by Classical Video Concepts, Inc
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 2
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Concerto No. 5 for Piano and Orchestra
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Intermediate. …
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Intermediate. Piano Reduction. Classical Video Concepts, Inc #M-YC5. Published by Classical Video Concepts, Inc
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 5 for Piano and Orchestra
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Classical Video Concepts, Inc
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Concerto No. 7 (Anniversary Concerto) - Orchestra Score
Piano et Orchestre
By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Advanced. Scor…
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By Alexander Peskanov. For Piano, Orchestra. Romantic Period, 20th Century. Advanced. Score. Classical Video Concepts, Inc #M-YC1-SCORE. Published by Classical Video Concepts, Inc
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45.63 €
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Piano et Orchestre
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Alexander Peskanov
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Concerto No. 7
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Classical Video Concepts, Inc
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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
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3.64 €
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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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