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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
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CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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CONTEMPORAIN - NEW A…
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JEUX VIDEOS
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difficulté (tous)
débutant
facile
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expert
avec audio
avec vidéo
avec play-along
Non classifié
37985
PIANO & CLAVIERS
Piano seul
241480
Piano Facile
13729
Piano, Voix
5176
Orgue
4428
Piano, Voix et Guitare
1934
Accordéon
1841
Instruments en Do
1408
Piano grosses notes
1243
Accompagnement Piano
943
Piano (partie séparée)
361
1 Piano, 4 mains
334
Instrument seul et Orgue
165
Clavecin
105
Piano Trio: piano, violon, violoncelle
84
2 Pianos, 4 mains
63
Orgue, Trompette (duo)
62
Orgue, Piano (duo)
37
Piano Quatuor: piano, violon, alto, violoncelle
33
Piano Quintette: piano, 2 violons, alto, violoncelle
21
Accordéon, Voix
14
2 Accordéons
12
Piano Quatuor: piano, 2 violons, violoncelle
7
Clavier
7
Orgue, Voix
6
Accordéon et Orchestre
5
1 Piano, 6 mains
5
2 Pianos, 8 mains
2
Ensemble d'Accordéons
2
Orgue et Orchestre
2
Ligne De Mélodie, Piano
1
Tous Les Instruments
1
Accordéon, Piano
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
18340
Guitare
16296
Paroles et Accords
1759
Ligne De Mélodie, (Paroles) et Accords
1494
Basse electrique
1306
Ukulele
975
Guitare (partie séparée)
730
Banjo
453
Dulcimer
332
Ukulele Baryton
225
Mandoline
121
Guitare Pedal Steel
116
2 Guitares (duo)
92
4 Guitares (Quatuor)
64
Mandoline, Piano (duo)
49
Piano, Guitare (duo)
47
Dobro
29
Ensemble de guitares
25
3 Guitares (trio)
21
Guitare, Flûte, Clarinette
12
2 Dulcimers (duo)
8
Guitare, Violon, Violoncelle (trio)
7
2 Mandolines (duo)
5
Basse électrique (partie séparée)
4
2 Ukuleles
4
Guitare, Orchestre
3
Partitions De Groupes
3
Ensemble de Ukulélés
3
Guitare, Quatuor à cordes
1
Mandoline, Guitare (duo)
1
Bouzouki
1
Luth
1
2 Guitares, Clarinette (trio)
1
3 Dulcimers (trio)
1
Instrumentations suivantes
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VOIX
Chorale SATB
6439
Voix duo, Piano
2526
Voix seule
1977
Chorale 3 parties
1457
Chorale TTBB
1005
Voix Soprano, Piano
967
Voix duo
912
Voix haute
869
Voix Alto, Piano
715
Chorale 2 parties
607
Voix Tenor, Piano
600
Chorale SSAA
562
Chorale Unison
549
Voix Baryton, Piano
429
Voix basse, Piano
424
Voix Moyenne
241
Voix moyenne, Piano
218
Voix Tenor
137
Chorale
124
Soli, choeur mixte et accompagnement
78
Voix Soprano
74
Voix basse
46
Voix Mezzo-Soprano, Piano
44
Voix et basse continue
30
Chorale SSAATTBB
21
Voix, Guitare
18
Chorale SSATB
16
Voix haute, Piano
8
Chorale SSATTB
7
Chorale SSAB a cappella
7
Male Voice
5
Chorale SSAB, Piano
2
Chorale SATBB
2
Voix duo, Orgue
2
Voix Baryton
2
Voix Soprano, Orchestre
1
Chorale SAATB A Cappella
1
Chorale SSATBB
1
Instrumentations suivantes
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VENTS
Flûte traversière
12903
Saxophone Alto
11061
Clarinette
11011
Saxophone Tenor
9060
Saxophone (partie séparée)
6300
Flûte traversière et Piano
3899
Clarinette et Piano
3609
Hautbois (partie séparée)
3185
Saxophone Alto et Piano
2925
Hautbois, Piano (duo)
2126
Saxophone Tenor et Piano
2013
Saxophone Soprano et Piano
989
Hautbois
961
Flûte à Bec
930
Saxophone Soprano
768
Flûte à bec Soprano
693
Quatuor de Saxophones: 4 saxophones
649
Cor anglais, Piano
649
Instruments en Mib
585
Saxophone Baryton, Piano
484
Flûte à bec Alto
471
Quatuor de Clarinettes: 4 clarinettes
446
Flûte et Guitare
438
Flute (partie séparée)
432
2 Flûtes traversières (duo)
405
Saxophone
396
Flûte, Hautbois, Clarinette, Basson
380
Ocarina
375
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
372
Saxophone Baryton
355
Clarinette (partie séparée)
334
Quatuor de Flûtes : 4 flûtes
327
2 Saxophones (duo)
320
Cor Anglais
319
2 Clarinettes (duo)
296
Clarinette, Guitare (duo)
290
Harmonica
245
Clarinette Basse, Piano
244
3 Clarinettes (trio)
226
3 Saxophones (trio)
210
Ensemble de Clarinettes
185
Quintette de Saxophone: 5 saxophones
142
Trio de Flûtes: 3 flûtes
138
Clarinette Basse
124
Ensemble de Flûtes
119
Quintette de Clarinettes: 5 clarinettes
118
Quatuor de Flûtes à bec
109
Cor anglais, Guitare (duo)
102
Ensemble de saxophones
101
Flûte irlandaise
96
Flûte à bec Tenor
93
2 Hautbois (duo)
91
Cornemuse
90
Saxophone et Guitare
90
Piccolo
84
Flûte, Clarinette (duo)
84
Flûte à bec Alto, Piano
80
Saxophone et Piano
79
Flûte à bec Soprano, Piano
65
3 Flûtes à bec (trio)
64
Hautbois, Clarinette, Basson (trio d'anches)
58
Quintette de Flûte : 5 flûtes
58
2 Flûte à bec (duo)
58
Flûte, Hautbois, Basson
56
Flûte à Bec, Piano
52
Flûte, Violon
46
Saxophone et Orgue
42
Harmonica, Piano
40
Hautbois, Guitare (duo)
38
Piccolo, Piano
37
2 Saxophones, Piano
36
5 Flûtes à bec
31
2 Flûtes traversières, Piano
30
Clarinette, Violon (duo)
30
Hautbois, Flûte
27
Hautbois, Basson (duo)
27
Flûte à bec, Guitare (duo)
25
Flûte, Violon, Piano
25
Hautbois, Clarinette (duo)
24
Flûte, Violoncelle
22
Flûte, Violoncelle, Piano (trio)
22
Saxophone, Clarinette (duo)
21
Flûte, Clarinette, Piano (trio)
20
Ensemble De Flûte à bec
20
3 Hautbois
16
Flûte, Clarinette et Basson
16
Flûte traversière, Orgue (duo)
15
Flûte, Hautbois (duo)
15
Saxophone et Orchestre
15
Clarinette, Trompette (duo)
14
Flûte, Hautbois, Clarinette (trio)
14
Flûte, Saxophone (duo)
13
2 Clarinettes, Piano
13
Clarinette, Harpe (duo)
12
2 Flûtes traversières, Guitare
12
Clarinette, Orgue
12
Clarinette, Basson (duo)
12
Clarinette, Violoncelle (duo)
12
Clarinette, Orchestre
10
Flûte traversière, Orchestre
10
2 Cors Anglais Et Pianoforte
10
Clarinette et Alto
10
Flûte, Violon et Violoncelle
9
Flûte, Alto (duo)
9
4 Hautbois
8
Flute, harpe et violon
8
Flûte, Violoncelle, Guitare
8
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
7
Flûte, Guitare, Piano
7
Flûte à bec, Harpe
7
Flûte, Trompette (duo)
7
Cor anglais et Harpe (duo)
6
Flûte, Violon, Violoncelle et Piano
5
Flûte traversière, Basse continue
5
Hautbois, Basson et Piano
4
Flûte, Alto et Piano
4
Hautbois, Quatuor à cordes
4
Clarinette, Violoncelle, Piano (trio)
4
Flûte et Trio à cordes
4
Flûte, Basson et Piano
3
Flûte, Violon, Guitare
3
Hautbois, violon (duo)
3
Hautbois, Harpe
3
Quintette de Clarinette: Clarinette, Quatuor à Cordes
3
Melodica
3
Flûte, Hautbois, Violon
3
Flûte, Trombone (duo)
3
Hautbois et Orchestre
3
Flûte, Hautbois, Piano (trio)
2
Hautbois, Violoncelle
2
Flûte, Clarinette, Cor, Basson (Quartet)
2
Flûte et Quatuor à Cordes
2
2 Clarinettes, Basson
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Ensemble à vent
2
Clarinette, Trombone (duo)
2
Clarinette, Contrebasse (duo)
1
2 Flûtes, 2 Clarinettes (Quatuor)
1
Hautbois, Violon, Piano
1
Flûte de Pan
1
Ensemble de Hautbois
1
Hautbois, Clarinette et Piano (Trio)
1
2 Flûtes à bec, Piano
1
Flûte, alto et harpe
1
2 Hautbois, Piano
1
Flûte, Alto et Violoncelle
1
Clarinette, Basson, Piano (trio)
1
Clarinette, Tuba
1
Hautbois, Violoncelle et Piano
1
Hautbois et alto (duo)
1
Flûte à bec Alto, Basse continue
1
2 Flûtes traversières, Harpe
1
Instrumentations suivantes
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CUIVRES
Trompette
10484
Trombone
8889
Cor
6867
Trompette (partie séparée)
2428
Trompette, Piano
2413
Tuba
2307
Trombone et Piano
1916
Trombone (partie séparée)
1816
Cor et Piano
1745
Tuba et Piano
810
Euphonium
761
Bass Clef Instruments
739
Cor anglais, Piano
649
Instruments en Sib
646
Euphonium, Piano (duo)
472
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
414
Cor (partie séparée)
385
Cor Anglais
319
Quatuor de Cuivres : 2 trompettes, trombone, tuba
301
Tuba (partie séparée)
274
Instruments en Fa
237
2 Trombones (duo)
124
Cor anglais, Guitare (duo)
102
2 Trompettes (duo)
91
Quatuor de cuivres: 4 trombones
78
2 Cors (duo)
65
Ensemble de Trombones
64
3 Trombones (trio)
60
Trombone basse
54
Ensemble de Trompettes
53
Quatuor de Cuivres
48
Quatuor de Cuivres: 2 trompettes, Cor, trombone
47
Trompette, Trombone (duo)
47
2 Tubas (duo)
39
Trombone basse et Piano
39
Quatuor de cuivres: 4 cors
25
Euphonium, Tuba (duo)
25
Trombone, Orgue
22
2 Euphoniums et 2 Tubas
19
Cor, Trompette, Trombone (trio)
17
4 Tubas
17
Trio de Cuivres
16
Tuba et Orgue
15
2 Euphoniums (duo)
15
Ensemble de Cors
14
Trompette, Saxophone (duo)
12
3 Trompettes (trio)
11
Trompette, Cor (duo)
11
Cor et Orgue
11
2 Trompettes, Clavier (piano ou orgue)
11
2 Cors Anglais Et Pianoforte
10
Trompette, Orchestre
9
Quatuor de cuivres: 4 trompettes
8
3 Cors (trio)
7
Trombone et orchestre
7
Cor anglais et Harpe (duo)
6
Trompette et Guitare
5
3 Tubas (trio)
5
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Trompette, Violoncelle et Piano
4
Cor, Orchestre
3
Cornet et Piano
3
Bugle
3
Trombone, Cor (duo)
3
Cornet A Pistons
2
Clarinette, Cor (duo)
2
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
Trompette, Violoncelle (duo)
2
Cor, Tuba (duo)
2
Cor, Violoncelle (duo)
2
Tuba ou Euphonium ou Saxhorn
2
Cornet et orchestre
2
Saxhorn basse ou Euphonium ou Tuba et Piano
2
Trompette, Tuba (duo)
2
Ensemble de Tubas
1
2 Trombones, Piano
1
Euphonium Ou Saxhorn Et Piano
1
Trombone, Tuba (duo)
1
Trompette, Euphonium (duo)
1
Instrumentations suivantes
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CORDES
Violon
16760
Violoncelle
11265
Alto seul
8443
Violon et Piano
5234
Harpe
4289
Violoncelle, Piano
3474
Alto, Piano
2879
Contre Basse
1684
Alto (partie séparée)
1669
Quatuor à cordes: 2 violons, alto, violoncelle
1563
Trio à Cordes: violon, alto, violoncelle
421
Contrebasse (partie séparée)
416
Violon, Violoncelle (duo)
403
Contrebasse, Piano (duo)
362
Violon (partie séparée)
213
2 Violons (duo)
195
Violoncelle , Guitare (duo)
186
Quintette à cordes: 2 violons, alto, violoncelle, basse
186
2 Violoncelles (duo)
177
Violon, Guitare (duo)
167
Alto, Guitare (duo)
125
Violon, Alto (duo)
113
Violoncelle (partie séparée)
100
2 Altos (duo)
90
Trio à cordes: 3 violins
81
Trio à Cordes: 2 violons, violoncelle
81
Harpe, Flûte (duo)
71
Quatuor à cordes: 4 violons
56
Alto, Violoncelle (duo)
55
2 Contrebasses (duo)
45
Trio à Cordes: 3 violoncelles
38
Trio à cordes: 3 altos
35
Harpe, Violon (duo)
33
Harpe et Piano
33
4 Violoncelles
32
Harpe, Violoncelle (duo)
29
Violoncelle, Orgue
28
Quatuor à cordes : 4 altos
26
Alto et Harpe
22
Violoncelle, Orchestre
20
Violoncelle, Contrebasse (duo)
19
Harpe, Voix
17
Violon, Orgue
16
Piano Trio: Violon, Alto, Piano
15
4 Contrebasses
14
Trio à cordes
14
Quintette à cordes: 2 violons, 2 altos, violoncelle
14
2 Harpes (duo)
13
Harpe et mandoline
11
Alto et orchestre
9
Ensemble de Violoncelles
9
Trio à Cordes: 2 violons, alto
7
Ensemble de Violons
6
Ensemble d'Altos
5
2 Violons, Piano
5
Alto, Orgue
5
Quintette à cordes : 2 violons, alto et 2 violoncelles
4
2 Violoncelles, Piano
4
Violon, Basson (duo)
4
Violon, Basse continue
3
2 Altos, Piano
3
Autoharp
3
3 Contrebasses
2
2 Violons et Basse continue
2
Violoncelle, Basse continue
1
Violon, Clarinette, Piano (trio)
1
Ensemble de Contre basses
1
3 Harpes
1
Harpe, Quatuor à cordes
1
Flûte, Contrebasse (duo)
1
Harpe, Trombone (duo)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Ensemble Jazz
3340
Orchestre d'harmonie
2151
Cloches
1289
Orchestre à Cordes
1172
Orchestre
997
Orchestre de chambre
753
Jazz combo
679
Marimba
531
Ensemble de cuivres
453
Batterie (partie séparée)
388
Xylophone
323
Vibraphone
317
Batterie
177
Percussion
140
Ensemble de Percussions
119
Fanfare
100
Caisse Claire
74
Xylophone, Piano
69
Percussion (partie séparée)
68
Quatuor à Vent : 4 instruments à vents
36
Quintette à Vent
20
Piano et Orchestre
12
Xylophone ou Marimba ou Vibraphone
11
Orchestre, Violon
10
Timbales (partie séparée)
10
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
6
Timbales
5
Ensemble d'École
5
Marimba, Piano (duo)
5
Big band
4
2 Xylophones
4
Marimba et Orgue
4
Trio à Vent: 3 instruments à vents
2
Vibraphone et Marimba
2
Quintette de Cuivres: autres combinaisons
2
Bodhran
1
2 Marimbas
1
Instrumentation Flexible
1
Voix Mezzo-Soprano, Orchestre
1
Voix et Orchestre
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
93
Papeterie
1
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Concerto para piano e orquestra n.2 em formas brasileiras
Piano et Orchestre
Composed by Hekel Tavares. 21st Century, Contemporary Classical, South American. Solo Part…
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Composed by Hekel Tavares. 21st Century, Contemporary Classical, South American. Solo Part. 34 pages. Published by Musica Brasilis (S0.240407). - Solo Part - 21st Century,Contemporary Classical,South American - Musica Brasilis
$17.50
15.87 €
#
Piano et Orchestre
#
Hekel Tavares
#
Concerto para piano e orquestra n.2 em formas brasileiras
#
Musica Brasilis
#
SheetMusicPlus
Gregory Sullivan Isaacs: Quiet Night for piano and orchestra - score and complete parts
Piano et Orchestre
Composed by Gregory Sullivan Isaacs. 21st Century, Minimalism, Christmas. Score, Set of Pa…
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Composed by Gregory Sullivan Isaacs. 21st Century, Minimalism, Christmas. Score, Set of Parts, Solo Part. 32 pages. Published by Musik Fabrik (S0.136477). - Score,Set of Parts,Solo Part - 21st Century,Minimalism,Christmas - Musik Fabrik
$38.95
35.32 €
#
Piano et Orchestre
#
Gregory Sullivan Isaacs
#
Gregory Sullivan Isaacs: Quiet Night for piano and orchestra - score and complete parts
#
Musik Fabrik
#
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)
$23.99
21.75 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Concerto in C-Moll, Opus 12
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabrie…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabriel Pierne. Edited by Jenni Pinnock. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 12. 166 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-049-4). ISBN 9790501790494.Gabriel Pierne became well known as a conductor in Paris in the early 20 century; however, his compositional output became overshadowed by that of his contemporaries, including Saint-Saens. This early Concerto in c-moll is a hidden treasure, featuring virtuosic piano writing, powerful themes, and orchestral accompaniment that allows the brilliance of the soloist to shine through.
$26.95
24.44 €
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Piano et Orchestre
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Gabriel Pierne
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Concerto in C-Moll, Opus 12
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Bisel Classics - Digital
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SheetMusicPlus
Concerto No. 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
11.78 €
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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
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
50.77 €
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Piano et Orchestre
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Piano Music with Orchestra
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Schott Music - Digital
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SheetMusicPlus
Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
Piano et Orchestre
String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang A…
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String Orchestra - Level 5 - Digital Download SKU: A0.517429 Composed by Wolfgang Amadeus Mozart. Arranged by Santino Cara. Classical. Score and parts. 271 pages. Santino Cara #5197099. Published by Santino Cara (A0.517429). Complete score and parts of the Piano Concerto No.20 in D minor K.466 for Piano solo and Orchestra. Composed in 1785 in Vienna by Wolfgang Amadeus Mozart. Rewritten and elaborated in Rome in 2019 by Santino Cara.
$26.20
23.76 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Santino Cara
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Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
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Santino Cara
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SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7.01 €
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Piano et Orchestre
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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Genesis
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SheetMusicPlus
Jazz Brazilian Piano Concerto No 1 in Three Movements (Full Score Only)
Piano et Orchestre
Composed by James Nathaniel Holland. Jazz, Latin Jazz, Bossa Nova, Latin, South American. …
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Composed by James Nathaniel Holland. Jazz, Latin Jazz, Bossa Nova, Latin, South American. Score. 142 pages. Published by James Nathaniel Holland (S0.221491). - Score - Jazz,Latin Jazz,Bossa Nova,Latin,South American - James Nathaniel Holland
$21.95
19.9 €
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Piano et Orchestre
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James Nathaniel Holland
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Jazz Brazilian Piano Concerto No 1 in Three Movements
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James Nathaniel Holland
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SheetMusicPlus
Piano Concerto ... Mozartiana (2007) for piano solo and chamber orchestra
Piano et Orchestre
By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Perio…
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By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Period, 20th Century, 21st Century. Advanced Intermediate. Score. 2 Flute (2. also piccolo) 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French horns 2 Trumpets in Bb 2 Tromb
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9.06 €
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Piano et Orchestre
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Thomas Oboe Lee
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SheetMusicPlus
Piano Concerto ... Mozartiana (2007) for piano solo and orchestra
Piano et Orchestre
By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Perio…
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By Thomas Oboe Lee. For Piano, Orchestra. Baroque Period, Classical Period, Romantic Period, 20th Century, 21st Century. Advanced Intermediate. Score. Published by Thomas Oboe Lee
$9.99
9.06 €
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Piano et Orchestre
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Thomas Oboe Lee
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Piano Concerto ... Mozartiana
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Thomas Oboe Lee
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SheetMusicPlus
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