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ACCORDEON
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AUTRES INST…
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BASSE
BASSON
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CHANT - CHO…
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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
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TROMPETTE
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VIOLONCELLE
XYLOPHONE
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2
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142
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Musicale
43
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de Musique
13 446
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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
208609
PIANO & CLAVIERS
Piano seul
267503
Piano, Voix et Guitare
151328
Piano, Voix
113631
Piano Facile
70379
Orgue
16255
Instruments en Do
13707
Piano grosses notes
10024
1 Piano, 4 mains
7921
Accordéon
6301
Accompagnement Piano
5700
Piano Trio: piano, violon, violoncelle
2227
Piano (partie séparée)
1725
2 Pianos, 4 mains
1472
Ligne De Mélodie, Piano
564
Piano Quatuor: piano, violon, alto, violoncelle
559
Piano Quintette: piano, 2 violons, alto, violoncelle
542
Piano Quatuor: piano, 2 violons, violoncelle
476
Orgue, Trompette (duo)
429
Orgue, Piano (duo)
381
Clavecin
292
1 Piano, 6 mains
238
Accordéon, Voix
217
Clavier
165
Instrument seul et Orgue
165
2 Pianos, 8 mains
94
2 Accordéons
78
Ensemble d'Accordéons
56
Orgue, Voix
47
2 Orgues (duo)
30
Tous Les Instruments
22
Fake Book
14
Accordéon, Piano
13
Accordéon, Corde(s)
12
Accordéon et Orchestre
7
Piano Quintette: piano, violon, alto, violoncelle, contre basse
6
Ensemble de Pianos
6
Orgue et Orchestre
5
Concertina
3
3 Pianos
2
Piano Trio: Instruments de chambre mixtes
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
79320
Ligne De Mélodie, (Paroles) et Accords
50503
Guitare
29883
Paroles et Accords
24253
Ukulele
18824
Basse electrique
13323
2 Guitares (duo)
2240
Guitare (partie séparée)
2141
Banjo
1567
Mandoline
1342
4 Guitares (Quatuor)
1058
Dulcimer
933
Piano, Guitare (duo)
901
Ensemble de guitares
707
3 Guitares (trio)
516
Basse électrique (partie séparée)
415
Ukulele Baryton
326
Partitions De Groupes
280
Guitare Pedal Steel
210
Ensemble de Ukulélés
207
Dobro
92
2 Dulcimers (duo)
83
Mandoline, Piano (duo)
79
Mandoline, Guitare (duo)
66
Guitare Tab, Voix, Basse, Batterie
40
Guitare, Violon, Violoncelle (trio)
40
2 Ukuleles
31
3 Dulcimers (trio)
21
Guitare, Flûte, Clarinette
18
Orchestre à Plectres
14
Guitare, Orchestre
12
Guitare, Quatuor à cordes
11
2 Mandolines (duo)
11
Cithare
8
Luth
7
Bouzouki
5
2 Guitares et Orchestre
4
Guitare, Harpe
2
2 Guitares, Clarinette (trio)
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
68025
Chorale 3 parties
27433
Pack Instrumental pour Chorale
19899
Chorale 2 parties
15984
Chorale TTBB
13373
Voix seule
9046
Chorale
8714
Chorale SSAA
6986
Chorale Unison
6277
Voix duo, Piano
3662
Voix haute
2147
Voix duo
1547
Voix Soprano, Piano
1461
Voix Tenor, Piano
839
Voix Alto, Piano
796
Voix basse, Piano
790
Voix Baryton, Piano
594
Voix moyenne, Piano
394
Voix, Guitare
381
Chorale SSATB
331
Voix Moyenne
247
Chorale SSAATTBB
239
Voix Mezzo-Soprano, Piano
189
Chorale SSATTB
159
Voix Tenor
141
Chorale SSATBB
125
Soli, choeur mixte et accompagnement
106
Chorale SATTB
93
Chorale SSAB a cappella
83
Voix Soprano
81
Chorale SSAB, Piano
62
Chorale, Orgue
59
Voix haute, Piano
58
Chorale SSAATB
53
Voix basse
51
Voix d'Enfants
43
Chorale SAATB A Cappella
32
Voix et basse continue
32
Male Voice
25
Chorale SATBB
25
Voix Baryton
19
Chorale SATTBB, Clavier
11
Chorale SSAATB A Cappella
10
Voix duo, Orgue
10
Voix Soprano, Orchestre
9
Chorale SATTBB A Cappella
6
Voix (avec Boîtes d'Accords)
4
Paroles Seulement
3
Voix d'Enfants, Piano
2
Instrumentations suivantes
Retracter
VENTS
Saxophone (partie séparée)
26514
Flûte traversière
22562
Clarinette
20202
Saxophone
17981
Clarinette (partie séparée)
14983
Flûte traversière et Piano
14218
Saxophone Alto
13004
Saxophone Tenor
11396
Quatuor de Saxophones: 4 saxophones
11204
Clarinette et Piano
10272
Saxophone Alto et Piano
7816
Hautbois, Piano (duo)
7612
2 Saxophones (duo)
7483
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7382
Flute (partie séparée)
7112
Flûte, Hautbois, Clarinette, Basson
6621
2 Flûtes traversières (duo)
6406
Hautbois (partie séparée)
6340
Quatuor de Clarinettes: 4 clarinettes
5867
Saxophone Tenor et Piano
5657
2 Clarinettes (duo)
5436
Quatuor de Flûtes : 4 flûtes
3438
Saxophone Soprano et Piano
3363
Quintette de Saxophone: 5 saxophones
2887
Hautbois
2651
3 Saxophones (trio)
2540
Flûte à Bec
2443
3 Clarinettes (trio)
2438
Flûte, Clarinette (duo)
2072
Flûte et Guitare
2059
Ensemble de Clarinettes
1910
Trio de Flûtes: 3 flûtes
1905
Ensemble de Flûtes
1547
Saxophone Baryton, Piano
1513
Quintette de Clarinettes: 5 clarinettes
1403
Saxophone Soprano
1397
Ensemble de saxophones
1348
Instruments en Mib
1290
2 Hautbois (duo)
1288
2 Flûte à bec (duo)
1264
Cor anglais, Piano
1173
Hautbois, Basson (duo)
1064
Harmonica
1054
Quatuor de Flûtes à bec
998
Flûte, Violon
913
Ocarina
902
Clarinette, Violon (duo)
856
Flûte à bec Soprano
810
Hautbois, Clarinette (duo)
805
Clarinette Basse, Piano
730
Flûte, Clarinette et Basson
711
Flûte, Hautbois, Clarinette (trio)
695
Saxophone, Clarinette (duo)
675
Flûte, Violon, Piano
656
Clarinette, Basson (duo)
582
Flûte, Violoncelle
555
Flûte à bec Alto
540
Flûte, Hautbois, Basson
535
3 Flûtes à bec (trio)
512
Clarinette, Guitare (duo)
509
Flûte, Hautbois (duo)
508
Hautbois, Clarinette, Basson (trio d'anches)
501
Quintette de Flûte : 5 flûtes
431
Piccolo
426
Clarinette Basse
410
Saxophone Baryton
401
Hautbois, Flûte
392
Cor Anglais
373
Clarinette, Violoncelle (duo)
372
Flûte à bec Soprano, Piano
371
Flûte, Clarinette, Piano (trio)
364
Clarinette, Trompette (duo)
351
Flûte à bec Alto, Piano
349
Flûte, Trompette (duo)
339
Flûte, Alto (duo)
333
Piccolo, Piano
329
Flûte, Violon et Violoncelle
313
Flûte, Violoncelle, Piano (trio)
313
Clarinette et Alto
306
5 Flûtes à bec
280
Flûte à Bec, Piano
275
2 Saxophones, Piano
274
Flûte à bec Tenor
272
Flûte, Saxophone (duo)
271
2 Flûtes traversières, Piano
267
Clarinette, Harpe (duo)
263
Ensemble De Flûte à bec
256
Hautbois, Violoncelle
246
Saxophone et Guitare
243
3 Hautbois
234
Hautbois, violon (duo)
219
2 Clarinettes, Piano
206
Flûte, Trombone (duo)
181
Flûte, Basson et Piano
175
Saxophone et Piano
175
Hautbois, Guitare (duo)
135
Clarinette, Violoncelle, Piano (trio)
132
Flûte, Hautbois, Piano (trio)
130
Flûte, Hautbois, Violon
124
Flûte irlandaise
121
Clarinette, Trombone (duo)
119
Flûte, Clarinette, Violon (trio)
113
Saxophone, Violon (duo)
110
Cor anglais, Guitare (duo)
103
Hautbois, Trompette (duo)
102
2 Clarinettes, Basson
101
Ensemble à vent
95
Cornemuse
93
4 Hautbois
87
Flûte à bec, Guitare (duo)
85
Flûte, Alto et Piano
81
Flûte, Harpe et Violoncelle
79
Flute, harpe et violon
78
Flûte traversière, Orgue (duo)
77
Hautbois et alto (duo)
77
Clarinette, Basson, Piano (trio)
76
Flûte, Clarinette, Cor, Basson (Quartet)
73
Flûte et Trio à cordes
68
Saxophone et Orgue
63
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
63
Flûte, Violon, Violoncelle et Piano
63
Flûte à bec Alto, Basse continue
51
Saxophone, Basson (duo)
49
Hautbois, trombone (duo)
48
Hautbois, Harpe
47
Clarinette, Alto et Piano (trio)
45
Flûte, Tuba (duo)
45
Harmonica, Piano
45
Flûte et Quatuor à Cordes
45
Saxophone et Harpe
44
Flûte traversière, Basse continue
38
Quintette de Clarinette: Clarinette, Quatuor à Cordes
38
Flûte, alto et harpe
37
2 Cors Anglais Et Pianoforte
36
Saxophone et violoncelle
34
Flûte, trombone et piano
33
Hautbois, Basson et Piano
32
Flûte traversière, Orchestre
31
Flûte, Violoncelle, Guitare
31
Clarinette, Tuba
30
Flûte, Violon, Guitare
29
2 Flûtes à bec, Piano
28
Hautbois, Violoncelle et Piano
28
Hautbois, Violin, Alto et Violoncelle (Quatuor)
27
Flute, Cor (duo)
25
Clarinette, Orgue
25
Clarinette, trompette et piano
25
Clarinette, Orchestre
24
2 Hautbois, Piano
22
Hautbois, Violon, Piano
19
Flûte, Alto et Violoncelle
19
Clarinette, Contrebasse (duo)
16
Hautbois, Clarinette et Piano (Trio)
16
Saxophone et Orchestre
15
Cor anglais et Harpe (duo)
15
2 Flûtes traversières, Guitare
14
Ensemble de Hautbois
14
Flûte à bec Soprano, Basse continue
11
2 Harmonicas
11
2 Hautbois et Cor anglais
10
2 Flûtes traversières, Harpe
10
Hautbois, Orgue
10
Flûte à bec, Harpe
10
2 Hautbois et Basson
9
Clarinette, Quatuor à cordes et Piano
9
Saxophone, Tuba (duo)
9
Flûte de Pan
8
Hautbois et Orchestre
7
Flûte, Guitare, Piano
7
2 Flûtes, 2 Clarinettes (Quatuor)
7
2 Flûtes, Basse continue
6
Melodica
5
Hautbois, Quatuor à cordes
4
Clarinette, Saxophone, Piano
3
Hautbois, Clarinette, Basson et Piano
3
3 Flûtes à bec, Piano
2
2 clarinettes, 2 bassons
2
2 Flûtes à bec, Guitare
2
2 Hautbois, 2 Cors et 2 Bassons
1
Flute, alto, violoncelle et guitare
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette
18616
Trombone (partie séparée)
18496
Trompette (partie séparée)
18004
Trombone
15440
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10426
Cor
8778
Trompette, Piano
7317
Cor (partie séparée)
6820
Trombone et Piano
6115
Tuba (partie séparée)
4973
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4496
Cor et Piano
4471
2 Trompettes (duo)
3186
Tuba
3148
2 Trombones (duo)
2737
Quatuor de Cuivres
2231
Tuba et Piano
2157
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1861
Bass Clef Instruments
1823
Quatuor de cuivres: 4 trombones
1469
Trompette, Trombone (duo)
1458
Euphonium, Piano (duo)
1306
Euphonium
1260
Instruments en Sib
1226
2 Cors (duo)
1203
Cor anglais, Piano
1173
Quatuor de cuivres: 4 cors
1043
2 Euphoniums et 2 Tubas
1037
Trio de Cuivres
713
4 Tubas
653
Trompette, Saxophone (duo)
651
Trompette, Cor (duo)
566
Ensemble de Trombones
502
3 Trombones (trio)
482
3 Trompettes (trio)
399
Tuba ou Euphonium ou Saxhorn
381
Cor Anglais
373
Cornet A Pistons
368
2 Tubas (duo)
366
Quatuor de cuivres: 4 trompettes
308
Instruments en Fa
303
Ensemble de Cors
282
Trombone basse et Piano
281
Ensemble de Trompettes
272
Trompette, Tuba (duo)
244
Trombone, Tuba (duo)
231
Tuba et Orgue
157
2 Trompettes, Clavier (piano ou orgue)
154
Euphonium, Tuba (duo)
146
Trombone, violoncelle (duo)
140
Trompette, violon (duo)
135
Trombone, Cor (duo)
126
Trombone basse
123
Trompette, Basson (duo)
119
Cor, Violoncelle (duo)
118
Cor, Tuba (duo)
117
Quatuor de cuivres: 2 trompettes, 2 trombones
114
3 Cors (trio)
107
Cor anglais, Guitare (duo)
103
Trombone, Violon (duo)
93
Trompette, Violoncelle (duo)
88
Ensemble de Tubas
84
Euphonium (partie séparée)
84
2 Euphoniums (duo)
82
Trombone, Orgue
62
Cor et Harpe
56
Trompette, Trombone, Piano
49
Cor et Basson (duo)
49
Trompette, Violoncelle et Piano
45
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
43
2 Trombones, Piano
42
Trompette, Harpe
39
Trompette et Guitare
36
2 Cors Anglais Et Pianoforte
36
Clarinette, Cor (duo)
35
3 Tubas (trio)
31
Trombone, Alto (duo)
28
Cor et Orgue
22
4 Euphoniums
20
Cor, Trompette, Trombone (trio)
20
Trompette, Orchestre
18
2 Cors, Piano
18
Bugle
18
Cornet et Piano
17
3 Euphoniums
15
Cor anglais et Harpe (duo)
15
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
14
Cor, Orchestre
10
Trompette, Euphonium (duo)
8
Trombone et orchestre
8
Cor, Violoncelle et Piano
7
Euphonium Ou Saxhorn Et Piano
5
G Instruments
4
Saxhorn basse ou Euphonium ou Tuba et Piano
3
Cornet et orchestre
2
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
33515
Violon
23451
Violon et Piano
19133
Violoncelle
15547
Alto seul
12940
Violoncelle, Piano
12121
Violon (partie séparée)
10213
Harpe
9021
Alto, Piano
8929
2 Violons (duo)
6158
Violon, Violoncelle (duo)
5831
Contrebasse (partie séparée)
5091
Trio à Cordes: violon, alto, violoncelle
4653
2 Violoncelles (duo)
4346
Alto (partie séparée)
3467
Violoncelle (partie séparée)
3294
Violon, Alto (duo)
2690
Contre Basse
2411
2 Altos (duo)
2124
Quintette à cordes: 2 violons, alto, violoncelle, basse
2115
Contrebasse, Piano (duo)
1792
Trio à Cordes: 2 violons, violoncelle
1775
Alto, Violoncelle (duo)
1427
4 Violoncelles
1120
Trio à cordes: 3 violins
1012
Violon, Guitare (duo)
909
Trio à cordes
870
Piano Trio: Violon, Alto, Piano
817
Harpe, Flûte (duo)
721
Trio à Cordes: 3 violoncelles
701
Violoncelle , Guitare (duo)
678
2 Harpes (duo)
637
Quatuor à cordes: 4 violons
530
Harpe, Violon (duo)
411
Trio à Cordes: 2 violons, alto
367
Alto, Guitare (duo)
362
Trio à cordes: 3 altos
357
2 Contrebasses (duo)
354
Quatuor à cordes : 4 altos
347
2 Violons, Piano
343
Violoncelle, Contrebasse (duo)
327
Violon, Basson (duo)
255
Alto et Basson
167
Quintette à cordes: 2 violons, 2 altos, violoncelle
158
Harpe, Violoncelle (duo)
129
2 Violoncelles, Piano
119
Harpe et Piano
107
Violon, Clarinette, Piano (trio)
105
Quintette à cordes : 2 violons, alto et 2 violoncelles
95
Harpe, Voix
95
Ensemble de Violoncelles
93
Harpe (partie séparée)
90
Violon, Orgue
81
Violoncelle, Orgue
75
Alto et Harpe
72
2 Altos, Piano
71
Violoncelle, Orchestre
68
4 Contrebasses
66
Flûte, Contrebasse (duo)
60
Violon, Basse continue
55
Ensemble de Violons
48
Harpe, Violon, Violoncelle
48
3 Contrebasses
43
Violoncelle, Basse continue
41
2 Violons et Basse continue
39
3 Harpes
34
Violon, Tuba (duo)
32
Ensemble d'Altos
31
Harpe et mandoline
24
Autoharp
21
Alto et orchestre
19
Violon, Contrebasse (duo)
16
Alto, Orgue
16
Violon, Violoncelle, Clarinette
16
Violoncelle et Marimba
15
Harpe, Trombone (duo)
15
Violon, Trompette et Piano
14
4 Harpes
12
Harpe, Orchestre
9
Harpe et Orgue
8
5 Harpes
6
Harpe, Quatuor à cordes
6
Ensemble de Contre basses
3
Violon, Clarinette et Guitare
3
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
76873
Orchestre
20989
Orchestre à Cordes
19306
Fanfare
17435
Ensemble Jazz
16952
Batterie
12727
Percussion (partie séparée)
9160
Cloches
6577
Ensemble de cuivres
5657
Orchestre de chambre
3610
Percussion
3167
Batterie (partie séparée)
2658
Jazz combo
2528
Timbales (partie séparée)
2283
Ensemble de Percussions
1549
Marimba
708
Timbales
544
Xylophone
524
Vibraphone
455
Quintette à Vent
290
Caisse Claire
189
Xylophone, Piano
156
Piano et Orchestre
142
Quatuor à Vent : 4 instruments à vents
120
Vibraphone (partie séparée)
96
Orchestre, Violon
71
2 Xylophones
63
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
61
Instrumentation Flexible
50
Big band
49
Quintette de Cuivres: autres combinaisons
41
Xylophone (partie séparée)
35
Vibraphone et Marimba
33
Batterie-Fanfare
32
Vibraphone, Piano
28
2 Marimbas
24
Ensemble d'École
24
3 Marimbas
18
Trio à Vent: 3 instruments à vents
18
Marimba, Piano (duo)
17
Marimba et Orgue
13
Xylophone ou Marimba ou Vibraphone
12
3 Percussions
11
Voix et Orchestre
7
Bongos
7
2 Caisses Claires (duo)
6
Mariachi
4
Conga
4
Cajon
4
Orchestre Symphonique
3
Marimba ou Xylophone et Piano
3
2 Percussions
3
Bodhran
3
Voix Mezzo-Soprano, Orchestre
2
Marimba, Saxophone (duo)
1
Caisse Claire, Piano
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
271
Théorie de la musique
53
Papeterie
33
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Concerto No. 2 F minor
Piano et Orchestre
Composed by Frederic Chopin (1810-1849). This edition: study score. Ernst Eulenburg - …
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Composed by Frederic Chopin (1810-1849). This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Op. 21. Schott Music - Digital #Q12492. Published by Schott Music - Digital
$15.99
14.67 €
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Piano et Orchestre
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Frederic Chopin (1810-1849)
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Concerto No. 2 F minor
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Schott Music - Digital
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SheetMusicPlus
Piano Music with Orchestra
Piano et Orchestre
(Piano: Left Hand). Composed by Paul Hindemith (1895-1963). This edition: piano reduct…
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(Piano: Left Hand). Composed by Paul Hindemith (1895-1963). This edition: piano reduction with solo part. Downloadable, piano reduction with solo part. Op. 29. Duration 18 minutes. Schott Music - Digital #Q19660. Published by Schott Music - Digital
$55.99
51.35 €
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Piano et Orchestre
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Piano Music with Orchestra
#
Schott Music - Digital
#
SheetMusicPlus
Klaviermusik mit Orchester
Piano et Orchestre
(Piano: Left Hand) and Orchestra. Composed by Paul Hindemith (1895-1963). This editi…
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(Piano: Left Hand) and Orchestra. Composed by Paul Hindemith (1895-1963). This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Op. 29. Duration 18 minutes. Schott Music - Digital #Q21351. Published by Schott Music - Digital
$15.99
14.67 €
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Piano et Orchestre
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Paul Hindemith
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Klaviermusik mit Orchester
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Schott Music - Digital
#
SheetMusicPlus
Third Piano Concerto in E minor
Piano et Orchestre
Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minute…
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Composed by Nikolai Medtner. Downloadable, Piano reduction. Op. 60. Duration 35 minutes. Zimmermann #Q564179. Published by Zimmermann
$19.99
18.33 €
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Piano et Orchestre
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Nikolai Medtner
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Third Piano Concerto in E minor
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SheetMusicPlus
Piano Concerto
Piano et Orchestre
Composed by Sir Michael Tippett (1905-1998). This edition: study score. Ernst Eulenb…
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Composed by Sir Michael Tippett (1905-1998). This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Duration 32 minutes. Schott Music - Digital #Q21224. Published by Schott Music - Digital
$41.99
38.51 €
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Piano et Orchestre
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Sir Michael Tippett
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Piano Concerto
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Schott Music - Digital
#
SheetMusicPlus
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 .
$19.99
18.33 €
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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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SheetMusicPlus
Concerto No. 20 D minor
Piano et Orchestre
Piano and orchestra - Digital Download Composed by Wolfgang Amadeus Mozart (1756-1791…
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Piano and orchestra - Digital Download Composed by Wolfgang Amadeus Mozart (1756-1791). This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Schott Music - Digital #Q12448. Published by Schott Music - Digital
$13.99
12.83 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concerto No. 20 D minor
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Schott Music - Digital
#
SheetMusicPlus
Concerto No. 2 G minor
Piano et Orchestre
Composed by Camille Saint- Saens (1835-1921). This edition: study score. Ernst Eulenb…
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Composed by Camille Saint- Saens (1835-1921). This edition: study score. Ernst Eulenburg, Orchester, Partitur, Konzert. Eulenburg Miniature Scores. Downloadable. Op. 22. Duration 25 minutes. Schott Music - Digital #Q48708. Published by Schott Music - Digital
$15.99
14.67 €
#
Piano et Orchestre
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Camille Saint- Saens
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Concerto No. 2 G minor
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Schott Music - Digital
#
SheetMusicPlus
Concerto No. 2
Piano et Orchestre
For Piano and Orchestra. Composed by Mikis Theodorakis (1925-). This edition: study …
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For Piano and Orchestra. Composed by Mikis Theodorakis (1925-). This edition: study score. Music Of Our Time. Downloadable. Duration 28 minutes. Schott Music - Digital #Q7222. Published by Schott Music - Digital
$49.99
45.85 €
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Piano et Orchestre
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Mikis Theodorakis (1925-)
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Concerto No. 2
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Schott Music - Digital
#
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 …
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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.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
137.58 €
#
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…
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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.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
114.65 €
#
Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
Le Vent, Le Cri - Ennio Morricone
Piano et Orchestre
Piano and String Orchestra - Advanced Intermediate - Digital Download By Ennio Morric…
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Piano and String Orchestra - Advanced Intermediate - Digital Download By Ennio Morricone. Arranged by Armand Broshka. Score, Set of Parts. 62 pages. Published by Armand Broshka
"Le Vent, Le Cri" soundtrack from the motion picture "Le Professionnel" The Professional composed by Ennio Morricone.<br> This version is identical to that of the movie and the attached YouTube link. (This is an professional score)"Le Vent, Le Cri" soundtrack from the motion picture "Le Professionnel" The Professional composed by Ennio Morricone.<br> This version is identical to that of the movie and the attached YouTube link. (This is an professional score)
$99.99
91.71 €
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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
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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22 €
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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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Shelter Me, O God
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. Early Intermediate. Octavo. Published by Exultet Music
$3.99
3.66 €
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Piano et Orchestre
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Stephen DeCesare
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Shelter Me, O God
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Exultet Music
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SheetMusicPlus
Concerto No. 25 C major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus …
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Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21383. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21383). Key: C major.His concertos justifiably rank among the milestones of solo music accompanied by orchestra. In Viennese Classicism, piano music flourished thanks to innovations in the instrumental technique, and even Mozart fully exploited the advantages of the fortepiano action over the rigid sound of the harpsichord in his works. Piano Concerto No. 25 is Mozart’s longest concerto. The harmonic structure, the continuous change between major and minor, the witty dialoguing between solo and orchestra, the strong contrapuntal saturation, the frequent use of the pedal point as well as the overflowing melodic abundance give the work a character all its own.
$12.99
11.91 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Concerto No. 25 C major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Franz Joseph Haydn: Concerto in G major for piano & orchestra (two pianos)
Piano et Orchestre
Instantly downloadable sheet music by Franz Joseph Haydn for piano & orchestra (two pi…
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Instantly downloadable sheet music by Franz Joseph Haydn for piano & orchestra (two pianos) of MEDIUM skill level. Contents: Hob.XVIII:4 / classical,concert
$7.99
7.33 €
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Piano et Orchestre
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Franz Joseph Haydn
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Virtualsheetmusic
Peter Tchaikovsky: Concerto in Bb minor Op.23 No.1 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Pyotr Ilyich Tchaikovsky for piano & orchestra o…
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Instantly downloadable sheet music by Pyotr Ilyich Tchaikovsky for piano & orchestra of HIGH skill level. Contents: opus 23, op. 23, no. 1, piano concerto / classical,concert
$6.75
6.19 €
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Piano et Orchestre
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Peter Tchaikovsky
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Virtualsheetmusic
Wolfgang Amadeus Mozart: Concerto in D minor No.20 K466 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of…
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Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of MEDIUM skill level. Contents: K 466, number 20, n.20, piano concerto / classical,concert
$5.75
5.27 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Virtualsheetmusic
Wolfgang Amadeus Mozart: Concerto in C major No.21 K467 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of…
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Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of MEDIUM skill level. Contents: K 467, number 21, n.21, piano concerto / classical,concert
$5.75
5.27 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Virtualsheetmusic
Wolfgang Amadeus Mozart: Concerto in A major No.23 K488 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of…
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Instantly downloadable sheet music by Wolfgang Amadeus Mozart for piano & orchestra of MEDIUM skill level. Contents: K 488, number 23, n.23, piano concerto / classical,concert
$5.75
5.27 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Virtualsheetmusic
Edward Grieg: Concerto in A minor Op.16 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Edvard Grieg for piano & orchestra of HIGH skill…
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Instantly downloadable sheet music by Edvard Grieg for piano & orchestra of HIGH skill level. Contents: op. 16, opus 16 / classical,concert
$6.75
6.19 €
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Piano et Orchestre
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Edward Grieg
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Virtualsheetmusic
Frederic Chopin: Concerto in E minor Op.11 No.1 for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Frederic Chopin for piano & orchestra of HIGH sk…
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Instantly downloadable sheet music by Frederic Chopin for piano & orchestra of HIGH skill level. Contents: Op. 11, opus 11 / classical,concert
$6.99
6.41 €
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Piano et Orchestre
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Frederic Chopin
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Virtualsheetmusic
Ludwig Van Beethoven: Concerto Op.73 No.5 "Emperor" for piano & orchestra
Piano et Orchestre
Instantly downloadable sheet music by Ludwig van Beethoven for piano & orchestra of HI…
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Instantly downloadable sheet music by Ludwig van Beethoven for piano & orchestra of HIGH skill level. Contents: Imperatore, concerto op. 73, op.73, 73, emperor, piano concerto / classical,concert
$5.75
5.27 €
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Piano et Orchestre
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Ludwig Van Beethoven
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Virtualsheetmusic
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and String Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
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Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 32 pages. Published by www.mattrileymusic.com (S0.204647). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Sacred,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with a cinematic sound, this highly acclaimed arrangement will stun and amaze audiences. The piano requires an early intermediate level of skill. Matt Riley has also made Advanced and Advanced Intermediate versions available on this site.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with a cinematic sound, this highly acclaimed arrangement will stun and amaze audiences. The piano requires an early intermediate level of skill. Matt Riley has also made Advanced and Advanced Intermediate versions available on this site.
$125.00
114.65 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and String Orchestra
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www.mattrileymusic.com
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