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PIANO & CLAVIERS
Piano seul
5472
Piano Facile
2217
Piano, Voix
2061
Piano, Voix et Guitare
1729
Instruments en Do
401
Orgue
284
1 Piano, 4 mains
231
Accompagnement Piano
190
Piano grosses notes
176
Accordéon
77
Piano (partie séparée)
68
Piano Trio: piano, violon, violoncelle
44
2 Pianos, 4 mains
32
Piano Quatuor: piano, violon, alto, violoncelle
22
Orgue, Piano (duo)
19
Piano Quatuor: piano, 2 violons, violoncelle
16
1 Piano, 6 mains
16
Ligne De Mélodie, Piano
12
Piano Quintette: piano, 2 violons, alto, violoncelle
11
Instrument seul et Orgue
8
2 Pianos, 8 mains
7
2 Accordéons
5
Ensemble de Pianos
3
Accordéon, Voix
3
Accordéon et Orchestre
2
Orgue, Trompette (duo)
2
2 Orgues (duo)
2
Clavecin
2
Clavier
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Orgue, Voix
1
Tous Les Instruments
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
1346
Ligne De Mélodie, (Paroles) et Accords
680
Guitare
509
Ukulele
225
Paroles et Accords
175
Basse electrique
125
Guitare (partie séparée)
63
Piano, Guitare (duo)
37
2 Guitares (duo)
36
Banjo
35
Dulcimer
34
4 Guitares (Quatuor)
22
Mandoline
15
Basse électrique (partie séparée)
13
Ensemble de guitares
10
Guitare Pedal Steel
9
3 Guitares (trio)
5
Dobro
4
2 Dulcimers (duo)
3
3 Dulcimers (trio)
2
Partitions De Groupes
2
2 Ukuleles
1
Ukulele Baryton
1
Mandoline, Guitare (duo)
1
Bouzouki
1
2 Guitares et Orchestre
1
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VOIX
Chorale SATB
2200
Chorale 3 parties
866
Chorale 2 parties
515
Chorale TTBB
389
Chorale Unison
248
Chorale SSAA
212
Chorale
172
Voix duo, Piano
97
Voix seule
67
Voix duo
54
Voix haute
44
Voix basse, Piano
40
Voix Soprano, Piano
37
Voix Moyenne
34
Voix Tenor, Piano
10
Chorale SSATB
8
Chorale SSATBB
5
Chorale SSAATTBB
3
Voix moyenne, Piano
3
Voix Baryton, Piano
2
Voix Mezzo-Soprano, Piano
2
Voix Tenor
1
Voix Alto, Piano
1
Chorale SATTB
1
Voix, Guitare
1
Voix basse
1
Chorale SSAB, Piano
1
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VENTS
Saxophone (partie séparée)
716
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
425
Flûte traversière et Piano
419
Quatuor de Saxophones: 4 saxophones
415
Clarinette (partie séparée)
383
Flûte traversière
367
Clarinette
277
Flûte, Hautbois, Clarinette, Basson
266
Quatuor de Clarinettes: 4 clarinettes
233
Clarinette et Piano
231
Saxophone Alto et Piano
223
Saxophone Alto
223
2 Saxophones (duo)
210
Hautbois (partie séparée)
202
Hautbois, Piano (duo)
190
2 Flûtes traversières (duo)
180
Saxophone Tenor et Piano
173
Flute (partie séparée)
173
Quintette de Saxophone: 5 saxophones
164
2 Clarinettes (duo)
158
Saxophone Soprano et Piano
122
Quatuor de Flûtes : 4 flûtes
121
Saxophone
107
Ensemble de Clarinettes
93
3 Saxophones (trio)
83
Flûte, Clarinette (duo)
73
3 Clarinettes (trio)
73
Trio de Flûtes: 3 flûtes
68
Flûte, Hautbois, Clarinette (trio)
65
Ensemble de Flûtes
65
Quintette de Clarinettes: 5 clarinettes
60
Saxophone Tenor
59
Ensemble de saxophones
48
Hautbois
46
2 Hautbois (duo)
40
Clarinette, Violon (duo)
38
2 Flûtes traversières, Piano
37
Flûte, Violon
34
Hautbois, Clarinette (duo)
33
Hautbois, Basson (duo)
31
Flûte, Clarinette et Basson
31
Instruments en Mib
30
Saxophone Baryton, Piano
29
Clarinette, Trompette (duo)
27
Flûte, Hautbois, Basson
26
Flûte et Guitare
26
Cor anglais, Piano
26
Clarinette Basse, Piano
25
Flûte, Hautbois (duo)
24
Saxophone Soprano
22
Ocarina
22
Flûte à Bec
21
2 Flûte à bec (duo)
20
Flûte, Alto (duo)
19
Saxophone, Clarinette (duo)
18
Flûte, Saxophone (duo)
16
Quintette de Flûte : 5 flûtes
16
Clarinette et Alto
16
Flûte à bec Soprano
15
Hautbois, violon (duo)
15
Flûte, Trompette (duo)
14
Clarinette, Basson (duo)
14
Clarinette Basse
13
Harmonica
13
Quatuor de Flûtes à bec
13
Flûte, Violoncelle
13
Cor Anglais
12
Hautbois, Clarinette, Basson (trio d'anches)
12
Clarinette, Violoncelle (duo)
11
Flûte à bec Alto
11
3 Hautbois
11
Flûte, Clarinette, Piano (trio)
10
Hautbois, Violoncelle
10
Saxophone Baryton
8
Flûte, Trombone (duo)
8
Flûte à bec Tenor
8
Flûte, Violoncelle, Piano (trio)
8
Flûte, Basson et Piano
8
Flûte, Violon, Piano
7
Clarinette, Violoncelle, Piano (trio)
7
Clarinette, Guitare (duo)
7
Hautbois, Flûte
7
4 Hautbois
7
2 Clarinettes, Piano
7
Clarinette, Harpe (duo)
6
Flûte à bec Soprano, Piano
5
Flûte irlandaise
5
Flûte, Violon et Violoncelle
5
Flûte à bec Alto, Piano
5
Piccolo
4
Ensemble De Flûte à bec
4
Flûte, Violon, Violoncelle et Piano
4
2 Clarinettes, Basson
4
5 Flûtes à bec
4
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
4
Flûte, Clarinette, Violon (trio)
4
Flûte à Bec, Piano
3
Saxophone et Harpe
3
Cor anglais, Guitare (duo)
3
Flûte, trombone et piano
3
2 Saxophones, Piano
3
Saxophone et Guitare
3
Saxophone, Violon (duo)
3
Hautbois, trombone (duo)
2
Flûte, Clarinette, Cor, Basson (Quartet)
2
Flûte, Alto et Piano
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Clarinette, Trombone (duo)
2
Cornemuse
2
Flûte, Hautbois, Piano (trio)
2
Piccolo, Piano
2
Clarinette, trompette et piano
2
Harmonica, Piano
2
Hautbois et alto (duo)
2
Flûte, Tuba (duo)
2
Flûte, Harpe et Violoncelle
2
3 Flûtes à bec (trio)
2
Flute, Cor (duo)
1
Hautbois, Guitare (duo)
1
Clarinette, Orgue
1
Clarinette, Contrebasse (duo)
1
Ensemble de Hautbois
1
Flûte de Pan
1
Flûte, Hautbois, Violon
1
Hautbois, Basson et Piano
1
Clarinette, Alto et Piano (trio)
1
Saxophone et Piano
1
Ensemble à vent
1
2 Hautbois et Cor anglais
1
2 Flûtes à bec, Piano
1
Clarinette, Tuba
1
Flute, harpe et violon
1
Flûte à bec Alto, Basse continue
1
Saxophone, Basson (duo)
1
Saxophone et violoncelle
1
Hautbois, Harpe
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
940
Trombone (partie séparée)
416
Trompette (partie séparée)
390
Trompette
368
Quatuor de Cuivres : 2 trompettes, trombone, tuba
245
Trompette, Piano
228
Trombone
228
Cor (partie séparée)
198
Trombone et Piano
198
Cor
155
Cor et Piano
142
Tuba (partie séparée)
104
2 Trompettes (duo)
96
Quatuor de Cuivres
83
Quatuor de Cuivres: 2 trompettes, Cor, trombone
82
Tuba
73
2 Trombones (duo)
73
Trompette, Trombone (duo)
62
Tuba et Piano
56
Quatuor de cuivres: 4 trombones
50
Quatuor de cuivres: 4 cors
44
Bass Clef Instruments
44
2 Cors (duo)
35
Euphonium, Piano (duo)
33
3 Trompettes (trio)
30
2 Euphoniums et 2 Tubas
26
Trompette, Cor (duo)
26
Cor anglais, Piano
26
Trompette, Saxophone (duo)
25
Instruments en Sib
24
Trio de Cuivres
21
Euphonium
20
Ensemble de Trombones
19
3 Trombones (trio)
17
Tuba ou Euphonium ou Saxhorn
12
Cor Anglais
12
Ensemble de Trompettes
12
2 Tubas (duo)
11
4 Tubas
10
Quatuor de cuivres: 4 trompettes
10
Cornet A Pistons
7
Trompette, Tuba (duo)
6
Euphonium, Tuba (duo)
5
Trombone, Cor (duo)
5
Cor, Violoncelle (duo)
5
Ensemble de Cors
5
Trombone basse
4
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Trombone basse et Piano
3
Cor anglais, Guitare (duo)
3
2 Trompettes, Clavier (piano ou orgue)
3
3 Cors (trio)
3
2 Euphoniums (duo)
3
Trombone, Tuba (duo)
2
Instruments en Fa
2
Trompette, Euphonium (duo)
2
Trompette, violon (duo)
2
Trombone et orchestre
1
2 Trombones, Piano
1
Cor et Basson (duo)
1
Clarinette, Cor (duo)
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Trombone, Violon (duo)
1
Trombone, Alto (duo)
1
Ensemble de Tubas
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Trompette, Violoncelle (duo)
1
Cor, Orchestre
1
Cor et Harpe
1
Trompette et Guitare
1
Trombone, Orgue
1
Tuba et Orgue
1
Cor et Orgue
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
986
Violon et Piano
546
Violon
455
Violon (partie séparée)
315
Harpe
309
Violoncelle, Piano
273
Violoncelle (partie séparée)
272
Alto, Piano
258
Alto seul
244
Contrebasse (partie séparée)
196
Violon, Violoncelle (duo)
173
2 Violons (duo)
130
Violoncelle
126
Alto (partie séparée)
121
Trio à Cordes: violon, alto, violoncelle
109
2 Violoncelles (duo)
91
Quintette à cordes: 2 violons, alto, violoncelle, basse
80
Violon, Alto (duo)
73
2 Altos (duo)
65
Contrebasse, Piano (duo)
58
Contre Basse
53
4 Violoncelles
53
Trio à Cordes: 2 violons, violoncelle
49
Harpe, Flûte (duo)
45
Alto, Violoncelle (duo)
31
Piano Trio: Violon, Alto, Piano
29
2 Harpes (duo)
29
Trio à Cordes: 3 violoncelles
24
Trio à cordes
21
Trio à cordes: 3 violins
19
Violon, Guitare (duo)
18
Harpe, Violon (duo)
15
Harpe (partie séparée)
15
Violoncelle , Guitare (duo)
14
Trio à cordes: 3 altos
11
Quatuor à cordes: 4 violons
10
Alto, Guitare (duo)
10
Trio à Cordes: 2 violons, alto
5
2 Contrebasses (duo)
5
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
Violon, Basson (duo)
5
Alto et Basson
5
Ensemble d'Altos
4
Ensemble de Violons
4
Harpe, Voix
4
Violon, Clarinette, Piano (trio)
4
Ensemble de Violoncelles
3
Quatuor à cordes : 4 altos
3
Harpe, Violoncelle (duo)
3
Harpe, Orchestre
2
Violoncelle, Contrebasse (duo)
2
Autoharp
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
2 Violoncelles, Piano
2
Harpe et Piano
2
2 Violons, Piano
2
Flûte, Contrebasse (duo)
1
Harpe, Trombone (duo)
1
Violoncelle, Orgue
1
Violon, Orgue
1
Violoncelle, Orchestre
1
Violon, Basse continue
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
3174
Orchestre à Cordes
863
Orchestre
794
Ensemble de cuivres
312
Cloches
296
Ensemble Jazz
275
Percussion (partie séparée)
264
Fanfare
220
Batterie
151
Orchestre de chambre
105
Ensemble de Percussions
95
Jazz combo
91
Batterie (partie séparée)
70
Percussion
62
Marimba
48
Timbales (partie séparée)
40
Timbales
15
Xylophone
11
Big band
8
Vibraphone
7
Quintette à Vent
6
Quintette de Cuivres: autres combinaisons
5
Quatuor à Vent : 4 instruments à vents
4
Piano et Orchestre
4
Ensemble d'École
4
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Caisse Claire
4
Vibraphone et Marimba
3
Instrumentation Flexible
3
2 Xylophones
2
Xylophone, Piano
2
Bodhran
1
Marimba, Piano (duo)
1
Bongos
1
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AUTRES
Formation musicale - Solfège
3
Théorie de la musique
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Piano et Orchestre
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God Bless America ®
Piano et Orchestre
By Celine Dion. By Irving Berlin. Arranged by Alex Nunes Rodrigues. Patriotic. Score …
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By Celine Dion. By Irving Berlin. Arranged by Alex Nunes Rodrigues. Patriotic. Score (Chords/Lyrics). 2 pages. Alex Rodrigues #835237. Published by Alex Rodrigues
$1.99
1.81 €
#
Piano et Orchestre
#
Celine Dion
#
Alex Nunes Rodrigues
#
God Bless America ®
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
When Johnny Comes Marching Home
Piano et Orchestre
By Patrick Gilmore. Arranged by Stephen DeCesare. For Piano, Voice, Flute, Choral. Instruc…
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By Patrick Gilmore. Arranged by Stephen DeCesare. For Piano, Voice, Flute, Choral. Instructional, Secular, Children's Music, Early Music, World. Intermediate. Octavo. Published by Exultet Music
$3.99
3.64 €
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Piano et Orchestre
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Patrick Gilmore
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Stephen DeCesare
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When Johnny Comes Marching Home
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Exultet Music
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SheetMusicPlus
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