English version
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
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
10
Partitions
Numériques
4
Librairie
Musicale
44
Matériel
de Musique
5 473
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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
7826
PIANO & CLAVIERS
Piano, Voix
5270
Piano seul
5015
Piano Facile
3509
Piano, Voix et Guitare
1988
Instruments en Do
344
Orgue
311
Piano grosses notes
179
1 Piano, 4 mains
157
Accompagnement Piano
140
Accordéon
107
Piano Quatuor: piano, violon, alto, violoncelle
68
2 Pianos, 4 mains
63
Piano Trio: piano, violon, violoncelle
62
Piano (partie séparée)
61
Orgue, Piano (duo)
11
Piano Quintette: piano, 2 violons, alto, violoncelle
11
Orgue, Trompette (duo)
8
2 Accordéons
6
Piano Quatuor: piano, 2 violons, violoncelle
4
Ligne De Mélodie, Piano
4
1 Piano, 6 mains
3
2 Pianos, 8 mains
3
Clavier
3
Ensemble d'Accordéons
2
Accordéon, Voix
2
Accordéon et Orchestre
1
Clavecin
1
Orgue, Voix
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
1035
Guitare
659
Ligne De Mélodie, (Paroles) et Accords
635
Ukulele
633
Mandoline
283
Paroles et Accords
224
Basse electrique
177
Guitare (partie séparée)
113
2 Guitares (duo)
42
Piano, Guitare (duo)
34
4 Guitares (Quatuor)
25
3 Guitares (trio)
25
Dulcimer
17
Partitions De Groupes
15
Banjo
11
Ensemble de guitares
9
Basse électrique (partie séparée)
9
2 Dulcimers (duo)
4
Guitare, Violon, Violoncelle (trio)
4
Guitare Pedal Steel
2
Ensemble de Ukulélés
2
2 Ukuleles
1
Ukulele Baryton
1
Mandoline, Guitare (duo)
1
Guitare, Orchestre
1
Dobro
1
3 Dulcimers (trio)
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
1745
Chorale 3 parties
528
Chorale TTBB
441
Chorale SSAA
285
Chorale 2 parties
279
Chorale Unison
134
Voix seule
92
Voix duo, Piano
80
Voix duo
79
Chorale
71
Voix haute
38
Voix Soprano, Piano
25
Chorale SSAATTBB
11
Voix moyenne, Piano
11
Voix Tenor, Piano
8
Voix basse, Piano
8
Voix Tenor
7
Chorale SSATB
7
Voix Mezzo-Soprano, Piano
6
Voix, Guitare
5
Chorale SSAATB
4
Voix Baryton, Piano
3
Voix Alto, Piano
3
Chorale SSATTB
3
Voix basse
3
Soli, choeur mixte et accompagnement
2
Voix Soprano
2
Chorale SSAB, Piano
1
Voix Moyenne
1
Chorale SSAB a cappella
1
Instrumentations suivantes
Retracter
VENTS
Saxophone (partie séparée)
762
Quatuor de Saxophones: 4 saxophones
459
2 Saxophones (duo)
446
Flûte traversière
383
Flûte traversière et Piano
367
Saxophone Alto
354
Clarinette
343
Saxophone Tenor
323
Quatuor de Clarinettes: 4 clarinettes
303
Flûte à bec Soprano
285
2 Clarinettes (duo)
278
2 Flûtes traversières (duo)
263
Clarinette et Piano
259
Flûte, Hautbois, Clarinette, Basson
258
Clarinette (partie séparée)
255
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
250
Saxophone Alto et Piano
224
Flûte à bec Alto
197
Harmonica
196
Hautbois, Piano (duo)
191
Saxophone Tenor et Piano
170
Quatuor de Flûtes : 4 flûtes
160
Hautbois (partie séparée)
144
Flûte et Guitare
142
Clarinette, Violon (duo)
141
Flute (partie séparée)
133
Flûte, Clarinette (duo)
127
Quintette de Saxophone: 5 saxophones
120
Saxophone
113
Saxophone, Clarinette (duo)
112
3 Saxophones (trio)
104
Saxophone Soprano et Piano
94
Flûte, Violon
93
3 Clarinettes (trio)
84
Clarinette, Guitare (duo)
78
Flûte irlandaise
78
Trio de Flûtes: 3 flûtes
72
2 Hautbois (duo)
68
2 Flûte à bec (duo)
62
Clarinette, Trompette (duo)
61
Quintette de Clarinettes: 5 clarinettes
59
Ensemble de saxophones
58
Saxophone Baryton, Piano
53
Hautbois, Basson (duo)
51
Ensemble de Clarinettes
51
Hautbois
48
Flûte à Bec
46
Hautbois, Clarinette (duo)
46
Hautbois, Flûte
46
Clarinette et Alto
40
Instruments en Mib
39
Cor anglais, Piano
39
Ensemble de Flûtes
38
Quintette de Flûte : 5 flûtes
36
Flûte, Saxophone (duo)
34
5 Flûtes à bec
32
Flûte à bec Alto, Piano
32
Flûte, Alto (duo)
31
Flûte, Trompette (duo)
28
Flûte, Violon et Violoncelle
26
Saxophone Soprano
23
Cor anglais, Guitare (duo)
21
Quatuor de Flûtes à bec
20
Flûte, Hautbois (duo)
20
Clarinette, Basson (duo)
18
Flûte, Clarinette et Basson
18
Flûte à bec Tenor
17
Clarinette Basse, Piano
17
Hautbois, Clarinette, Basson (trio d'anches)
16
Clarinette Basse
16
Saxophone et Guitare
16
Clarinette, Violoncelle (duo)
15
Ocarina
15
Piccolo
15
Clarinette, Harpe (duo)
14
3 Flûtes à bec (trio)
13
Flûte, Violoncelle
12
Flûte, Hautbois, Clarinette (trio)
11
Cor Anglais
11
Saxophone Baryton
9
Flûte à bec Soprano, Piano
9
Hautbois, Guitare (duo)
9
Flûte, Violoncelle, Piano (trio)
8
Flûte, Hautbois, Basson
7
2 Saxophones, Piano
6
3 Hautbois
6
2 Clarinettes, Piano
5
Hautbois, Violoncelle
5
Flûte, Clarinette, Violon (trio)
5
Flûte, Trombone (duo)
4
Flûte, Hautbois, Violon
4
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
3
Flûte, Violoncelle, Guitare
3
Flûte, Basson et Piano
3
Hautbois, violon (duo)
3
Flûte, Clarinette, Piano (trio)
3
Flute, harpe et violon
3
Saxophone et Piano
3
2 Cors Anglais Et Pianoforte
3
Clarinette, Trombone (duo)
3
4 Hautbois
3
Flûte traversière, Basse continue
2
Hautbois, Basson et Piano
2
Flûte traversière, Orgue (duo)
2
Flûte et Trio à cordes
2
Hautbois, Harpe
2
Ensemble De Flûte à bec
2
Cornemuse
2
Flûte, Hautbois, Piano (trio)
2
Clarinette, Basson, Piano (trio)
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Saxophone et Harpe
2
2 Flûtes traversières, Piano
2
Hautbois, Clarinette et Piano (Trio)
2
Ensemble de Hautbois
1
2 Clarinettes, Basson
1
Flûte à Bec, Piano
1
Flûte traversière, Orchestre
1
Cor anglais et Harpe (duo)
1
Saxophone et Orgue
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte, Harpe et Violoncelle
1
Ensemble à vent
1
2 Hautbois, Piano
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Clarinette, Alto et Piano (trio)
1
Harmonica, Piano
1
Flûte à bec Alto, Basse continue
1
Hautbois et alto (duo)
1
Flûte, alto et harpe
1
Flûte, Violon, Piano
1
Instrumentations suivantes
Retracter
CUIVRES
Trombone (partie séparée)
540
Trompette (partie séparée)
511
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
374
Trompette
341
Trombone
277
Quatuor de Cuivres : 2 trompettes, trombone, tuba
209
Trompette, Piano
192
Cor
183
Trombone et Piano
166
Cor (partie séparée)
137
Cor et Piano
115
2 Trompettes (duo)
100
Trompette, Trombone (duo)
89
2 Trombones (duo)
88
Tuba
86
Tuba (partie séparée)
84
Trompette, Saxophone (duo)
81
Tuba et Piano
50
Quatuor de cuivres: 4 trombones
50
Ensemble de Trompettes
45
Euphonium
44
Ensemble de Trombones
44
Quatuor de Cuivres: 2 trompettes, Cor, trombone
43
Quatuor de Cuivres
42
Bass Clef Instruments
40
Cor anglais, Piano
39
Quatuor de cuivres: 4 cors
36
2 Cors (duo)
35
Euphonium, Piano (duo)
33
Instruments en Sib
32
2 Euphoniums et 2 Tubas
22
Cor anglais, Guitare (duo)
21
Tuba ou Euphonium ou Saxhorn
20
4 Tubas
18
Ensemble de Cors
17
Trio de Cuivres
15
3 Trombones (trio)
15
2 Tubas (duo)
15
Quatuor de cuivres: 4 trompettes
12
Trompette, Cor (duo)
12
Cor Anglais
11
3 Trompettes (trio)
10
Trombone basse
9
Trombone, Tuba (duo)
8
Trompette, Tuba (duo)
6
Trombone, Cor (duo)
6
Euphonium, Tuba (duo)
6
Tuba et Orgue
6
Cor, Tuba (duo)
6
3 Cors (trio)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Cornet A Pistons
3
Cor, Violoncelle (duo)
3
2 Trompettes, Clavier (piano ou orgue)
3
2 Cors Anglais Et Pianoforte
3
3 Tubas (trio)
2
Trombone, Orgue
2
2 Euphoniums (duo)
2
Cor et Harpe
2
Euphonium (partie séparée)
2
3 Euphoniums
2
Ensemble de Tubas
1
4 Euphoniums
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Cor anglais et Harpe (duo)
1
2 Trombones, Piano
1
Trombone et orchestre
1
Euphonium Ou Saxhorn Et Piano
1
Trompette, Harpe
1
Cor et Orgue
1
Trompette, Trombone, Piano
1
Instruments en Fa
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1175
Violon
770
Violon et Piano
592
Violoncelle
417
Harpe
391
Violon, Violoncelle (duo)
375
Violoncelle, Piano
278
Trio à Cordes: violon, alto, violoncelle
263
Alto, Piano
260
Alto seul
248
2 Violons (duo)
225
2 Violoncelles (duo)
167
Violon, Alto (duo)
161
Contrebasse (partie séparée)
134
Violon (partie séparée)
101
2 Altos (duo)
100
Quintette à cordes: 2 violons, alto, violoncelle, basse
90
2 Harpes (duo)
70
Alto (partie séparée)
70
Contre Basse
65
Contrebasse, Piano (duo)
63
Trio à Cordes: 2 violons, violoncelle
55
Alto, Violoncelle (duo)
48
4 Violoncelles
46
Violoncelle (partie séparée)
38
Trio à cordes: 3 violins
35
Violon, Guitare (duo)
28
Violoncelle , Guitare (duo)
27
Harpe, Flûte (duo)
24
Trio à Cordes: 3 violoncelles
22
Violoncelle, Contrebasse (duo)
18
Piano Trio: Violon, Alto, Piano
18
Quatuor à cordes: 4 violons
14
Trio à cordes: 3 altos
12
Harpe, Violon (duo)
12
Alto, Guitare (duo)
9
Trio à Cordes: 2 violons, alto
7
Quatuor à cordes : 4 altos
7
2 Violons, Piano
6
2 Contrebasses (duo)
5
Harpe (partie séparée)
4
Violon, Basson (duo)
4
Trio à cordes
4
Harpe, Violoncelle (duo)
3
Ensemble de Violons
3
Alto et Basson
3
Violoncelle, Orchestre
3
Ensemble d'Altos
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
3 Contrebasses
2
Alto et Harpe
2
4 Contrebasses
2
2 Violoncelles, Piano
2
Harpe et Piano
2
Violoncelle, Basse continue
2
Harpe, Violon, Violoncelle
1
Flûte, Contrebasse (duo)
1
2 Altos, Piano
1
Violon, Orgue
1
Ensemble de Violoncelles
1
Violon, Clarinette, Piano (trio)
1
Harpe, Trombone (duo)
1
Harpe, Voix
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1548
Ensemble Jazz
915
Cloches
724
Orchestre
605
Orchestre à Cordes
555
Ensemble de cuivres
221
Batterie
171
Orchestre de chambre
151
Percussion (partie séparée)
145
Fanfare
137
Jazz combo
132
Batterie (partie séparée)
100
Ensemble de Percussions
91
Percussion
64
Marimba
34
Vibraphone
25
Xylophone
24
Timbales
20
Timbales (partie séparée)
17
Xylophone, Piano
12
Quintette à Vent
8
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Piano et Orchestre
4
Marimba ou Xylophone et Piano
1
Vibraphone (partie séparée)
1
Vibraphone, Piano
1
Voix et Orchestre
1
Vibraphone et Marimba
1
Big band
1
Cajon
1
Ensemble d'École
1
Caisse Claire
1
2 Xylophones
1
Instrumentation Flexible
1
Instrumentations suivantes
Retracter
AUTRES
Formation musicale - Solfège
2
Vous avez sélectionné:
Sam
Piano et Orchestre
Partitions à imprimer
4 partitions trouvées
<
1
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.64 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
(+)
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
180.44 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
(+)
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
135.33 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
(+)
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
112.78 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale