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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
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
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AFRICAIN
AMERICANA
ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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débutant
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expert
avec audio
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Non classifié
18964
PIANO & CLAVIERS
Piano seul
11836
Piano, Voix
5509
Piano, Voix et Guitare
3877
Piano Facile
3587
Accompagnement Piano
2252
Instruments en Do
1188
Orgue
996
1 Piano, 4 mains
267
Piano Trio: piano, violon, violoncelle
169
Piano grosses notes
134
Piano (partie séparée)
124
2 Pianos, 4 mains
90
Accordéon
78
Piano Quatuor: piano, 2 violons, violoncelle
77
Piano Quatuor: piano, violon, alto, violoncelle
53
Orgue, Trompette (duo)
30
Piano Quintette: piano, 2 violons, alto, violoncelle
26
Orgue, Piano (duo)
22
Clavecin
17
Ligne De Mélodie, Piano
10
2 Pianos, 8 mains
7
1 Piano, 6 mains
7
Clavier
5
Accordéon, Voix
2
Orgue et Orchestre
1
Ensemble d'Accordéons
1
Instrument seul et Orgue
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
1510
Guitare
1125
Ligne De Mélodie, (Paroles) et Accords
1016
Ukulele
627
Paroles et Accords
322
Guitare (partie séparée)
232
Basse electrique
224
2 Guitares (duo)
84
Piano, Guitare (duo)
69
Mandoline
57
Dulcimer
48
4 Guitares (Quatuor)
47
Banjo
47
Basse électrique (partie séparée)
30
3 Guitares (trio)
24
Ensemble de guitares
20
Mandoline, Guitare (duo)
7
2 Dulcimers (duo)
5
Guitare, Violon, Violoncelle (trio)
4
Guitare Pedal Steel
2
Guitare, Orchestre
2
Mandoline, Piano (duo)
2
Guitare, Flûte, Clarinette
2
Ukulele Baryton
1
Ensemble de Ukulélés
1
Guitare Tab, Voix, Basse, Batterie
1
Dobro
1
2 Ukuleles
1
Orchestre à Plectres
1
Cithare
1
Instrumentations suivantes
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VOIX
Chorale SATB
6607
Chorale 2 parties
2924
Chorale 3 parties
2495
Chorale Unison
2042
Voix duo, Piano
1268
Chorale TTBB
989
Chorale SSAA
586
Voix duo
363
Voix Soprano, Piano
230
Voix seule
116
Chorale
103
Voix haute
67
Voix Alto, Piano
63
Voix moyenne, Piano
51
Voix Tenor
43
Voix Tenor, Piano
42
Voix Soprano
36
Voix basse, Piano
22
Chorale SSAATTBB
19
Chorale SSATB
14
Voix Mezzo-Soprano, Piano
10
Voix Baryton, Piano
9
Voix basse
9
Chorale SSATTB
8
Voix, Guitare
6
Soli, choeur mixte et accompagnement
5
Chorale SSAB, Piano
3
Chorale SATBB
3
Chorale SSAB a cappella
3
Male Voice
2
Chorale, Orgue
2
Chorale SSAATB
1
Chorale SATTB
1
Voix haute, Piano
1
Instrumentations suivantes
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VENTS
Quatuor de Saxophones: 4 saxophones
1335
Saxophone (partie séparée)
1250
Flûte traversière et Piano
1207
2 Saxophones (duo)
995
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
978
Flûte, Hautbois, Clarinette, Basson
966
Clarinette et Piano
829
Hautbois, Piano (duo)
828
Saxophone Alto et Piano
810
Clarinette
806
Flûte traversière
764
Saxophone Tenor et Piano
672
Quintette de Saxophone: 5 saxophones
605
Saxophone Soprano et Piano
572
Quatuor de Clarinettes: 4 clarinettes
519
2 Clarinettes (duo)
501
Saxophone Alto
494
2 Flûtes traversières (duo)
468
Hautbois (partie séparée)
312
Flûte, Clarinette (duo)
307
Clarinette (partie séparée)
265
Ensemble de Clarinettes
264
3 Saxophones (trio)
258
Quatuor de Flûtes : 4 flûtes
255
Saxophone Baryton, Piano
253
Clarinette, Violon (duo)
233
Ensemble de saxophones
228
Saxophone
204
Ensemble de Flûtes
197
2 Hautbois (duo)
196
Saxophone, Clarinette (duo)
177
Saxophone Tenor
156
Flûte, Violon
148
Flute (partie séparée)
138
2 Flûte à bec (duo)
134
Quintette de Clarinettes: 5 clarinettes
133
3 Clarinettes (trio)
132
Hautbois, Basson (duo)
128
Quintette de Flûte : 5 flûtes
121
Trio de Flûtes: 3 flûtes
119
Cor anglais, Piano
109
Hautbois, Clarinette (duo)
108
Hautbois
103
Clarinette, Trompette (duo)
98
Flûte irlandaise
85
Clarinette et Alto
84
Saxophone Soprano
79
Flûte et Guitare
78
Clarinette, Basson (duo)
76
Clarinette Basse, Piano
75
2 Flûtes traversières, Piano
74
Flûte à bec Soprano
71
Flûte, Hautbois, Clarinette (trio)
71
Flûte, Saxophone (duo)
70
Flûte, Alto (duo)
69
Flûte, Violoncelle
68
Quatuor de Flûtes à bec
67
Hautbois, Flûte
65
Clarinette, Violoncelle (duo)
63
Flûte, Trompette (duo)
62
Saxophone Baryton
56
Flûte, Hautbois (duo)
52
Flûte, Clarinette et Basson
52
Hautbois, Clarinette, Basson (trio d'anches)
51
2 Clarinettes, Piano
47
Flûte, Clarinette, Piano (trio)
45
Hautbois, Violoncelle
44
Flûte, Violon et Violoncelle
41
Flûte à Bec
39
Flûte à bec Alto
38
Clarinette, Guitare (duo)
35
Hautbois, violon (duo)
34
Harmonica
33
Clarinette, Violoncelle, Piano (trio)
32
5 Flûtes à bec
32
Flûte, Violon, Piano
31
Flûte, Violoncelle, Piano (trio)
31
Flûte, trombone et piano
30
Flûte, Hautbois, Basson
25
Flûte, Basson et Piano
24
Flûte, Hautbois, Piano (trio)
22
Flûte, Alto et Piano
21
3 Flûtes à bec (trio)
18
Flûte à bec Tenor
16
Flûte à bec Alto, Piano
16
Piccolo, Piano
16
Flûte à bec Soprano, Piano
15
Flûte, Trombone (duo)
14
Instruments en Mib
14
Clarinette, Trombone (duo)
14
Clarinette, trompette et piano
13
Ensemble De Flûte à bec
13
Flûte, Clarinette, Cor, Basson (Quartet)
12
3 Hautbois
12
Cor Anglais
12
Flûte, Violon, Violoncelle et Piano
12
4 Hautbois
11
2 Saxophones, Piano
11
Hautbois et alto (duo)
11
Saxophone, Violon (duo)
10
Hautbois, Guitare (duo)
10
Cor anglais, Guitare (duo)
9
Saxophone et Guitare
9
Flute, harpe et violon
8
Piccolo
6
Saxophone et Orgue
6
Clarinette, Harpe (duo)
6
Ensemble à vent
6
Flûte, Violoncelle, Guitare
6
Hautbois, Harpe
6
Flûte et Trio à cordes
5
Clarinette Basse
5
Saxophone et Harpe
5
Flûte à Bec, Piano
4
Hautbois, Violin, Alto et Violoncelle (Quatuor)
4
Flûte traversière, Orgue (duo)
4
Hautbois, trombone (duo)
4
2 Clarinettes, Basson
3
Flûte, Violon, Guitare
3
Hautbois, Violon, Piano
3
2 Cors Anglais Et Pianoforte
3
Flûte, Tuba (duo)
3
Clarinette, Tuba
3
Cornemuse
3
Flute, Cor (duo)
3
Clarinette, Alto et Piano (trio)
3
Flûte, Hautbois, Violon
2
2 Hautbois, Piano
2
Flûte à bec Alto, Basse continue
2
Flûte, Harpe et Violoncelle
2
Ocarina
2
Flûte traversière, Basse continue
2
Clarinette, Basson, Piano (trio)
2
Clarinette, Contrebasse (duo)
2
Flûte, alto et harpe
2
Ensemble de Hautbois
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Saxophone, Tuba (duo)
1
Flûte à bec, Guitare (duo)
1
Cor anglais et Harpe (duo)
1
Harmonica, Piano
1
2 Hautbois, 2 Cors et 2 Bassons
1
Flûte à bec, Harpe
1
Clarinette, Saxophone, Piano
1
Saxophone et violoncelle
1
Clarinette, Orgue
1
Hautbois, Basson et Piano
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte, Clarinette, Violon (trio)
1
Saxophone, Basson (duo)
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1120
Trombone et Piano
814
Trompette, Piano
811
Quatuor de Cuivres : 2 trompettes, trombone, tuba
796
Trombone (partie séparée)
767
Trompette
752
Trompette (partie séparée)
671
Cor et Piano
560
Trombone
491
Quatuor de Cuivres: 2 trompettes, Cor, trombone
387
Cor
370
Tuba et Piano
320
2 Trombones (duo)
317
2 Trompettes (duo)
294
Tuba
279
Quatuor de Cuivres
216
Cor (partie séparée)
214
Trompette, Trombone (duo)
178
2 Cors (duo)
165
Tuba (partie séparée)
162
Euphonium, Piano (duo)
141
Quatuor de cuivres: 4 trombones
140
Trompette, Saxophone (duo)
137
Ensemble de Trombones
117
Trompette, Cor (duo)
115
Ensemble de Trompettes
115
Cor anglais, Piano
109
2 Tubas (duo)
79
Quatuor de cuivres: 4 cors
62
Trio de Cuivres
39
Ensemble de Cors
34
2 Euphoniums et 2 Tubas
34
Quatuor de cuivres: 4 trompettes
34
Euphonium
32
Quatuor de cuivres: 2 trompettes, 2 trombones
31
2 Euphoniums (duo)
28
Cor, Violoncelle (duo)
24
3 Trombones (trio)
23
Bass Clef Instruments
23
4 Tubas
22
Tuba et Orgue
17
Trompette, Basson (duo)
15
Instruments en Sib
15
Trompette, violon (duo)
13
Trompette, Violoncelle (duo)
13
Cor Anglais
12
Trombone basse et Piano
11
3 Trompettes (trio)
11
Trombone basse
10
Trombone, Orgue
10
Trombone, Tuba (duo)
10
Cor anglais, Guitare (duo)
9
Trompette, Tuba (duo)
9
3 Cors (trio)
9
Cor et Basson (duo)
9
Trombone, Cor (duo)
8
Trompette, Violoncelle et Piano
8
2 Trompettes, Clavier (piano ou orgue)
7
3 Tubas (trio)
7
Euphonium, Tuba (duo)
6
Trompette et Guitare
6
Instruments en Fa
5
Trompette, Trombone, Piano
5
Cor et Harpe
5
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
Clarinette, Cor (duo)
4
Trombone, Violon (duo)
4
2 Cors, Piano
3
2 Cors Anglais Et Pianoforte
3
3 Euphoniums
3
Cor, Tuba (duo)
3
Cor et Orgue
2
Trompette, Harpe
1
Cor anglais et Harpe (duo)
1
Ensemble de Tubas
1
Trombone, Alto (duo)
1
Tuba ou Euphonium ou Saxhorn
1
Cor, Violoncelle et Piano
1
Trompette, Euphonium (duo)
1
Cor, Trompette, Trombone (trio)
1
Trompette, Orchestre
1
Cornet et orchestre
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2946
Violon et Piano
1357
Violon
1088
Violoncelle, Piano
926
Alto, Piano
866
Violon, Violoncelle (duo)
733
Trio à Cordes: violon, alto, violoncelle
579
Violoncelle (partie séparée)
516
Harpe
488
Alto seul
454
2 Violons (duo)
446
Quintette à cordes: 2 violons, alto, violoncelle, basse
371
2 Violoncelles (duo)
352
Violon, Alto (duo)
289
Violon (partie séparée)
261
Violoncelle
258
Contrebasse (partie séparée)
245
2 Altos (duo)
242
Contrebasse, Piano (duo)
239
Contre Basse
234
Alto (partie séparée)
201
Trio à Cordes: 2 violons, violoncelle
180
2 Harpes (duo)
142
Piano Trio: Violon, Alto, Piano
129
Alto, Violoncelle (duo)
103
4 Violoncelles
85
2 Contrebasses (duo)
57
Trio à cordes: 3 violins
53
Trio à Cordes: 3 violoncelles
47
Quatuor à cordes: 4 violons
47
Violon, Basson (duo)
40
Violon, Guitare (duo)
36
Violoncelle, Contrebasse (duo)
34
Ensemble de Violons
32
Alto et Basson
31
Ensemble d'Altos
28
Violoncelle , Guitare (duo)
27
Harpe, Flûte (duo)
23
Harpe, Violon (duo)
22
Quintette à cordes: 2 violons, 2 altos, violoncelle
21
Harpe, Voix
18
Trio à cordes: 3 altos
18
Violon, Clarinette, Piano (trio)
17
Quatuor à cordes : 4 altos
15
Harpe, Violoncelle (duo)
15
Trio à Cordes: 2 violons, alto
13
Alto et Harpe
11
Quintette à cordes : 2 violons, alto et 2 violoncelles
11
Alto, Guitare (duo)
11
Flûte, Contrebasse (duo)
8
Violoncelle, Orgue
8
2 Violons, Piano
8
Harpe, Violon, Violoncelle
5
Harpe, Trombone (duo)
5
4 Contrebasses
5
Ensemble de Violoncelles
5
3 Harpes
4
Violoncelle, Basse continue
3
Violon, Tuba (duo)
3
Harpe et Piano
3
4 Harpes
3
Violoncelle, Orchestre
3
Violon, Orgue
2
5 Harpes
2
2 Violoncelles, Piano
2
Harpe et mandoline
2
Autoharp
2
Trio à cordes
2
Harpe et Orgue
1
Violon, Trompette et Piano
1
Violon, Violoncelle, Clarinette
1
Alto et orchestre
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
7077
Orchestre à Cordes
1668
Orchestre
1233
Ensemble Jazz
963
Ensemble de cuivres
669
Cloches
520
Fanfare
443
Orchestre de chambre
386
Batterie
257
Batterie (partie séparée)
257
Jazz combo
231
Percussion (partie séparée)
202
Ensemble de Percussions
192
Marimba
31
Vibraphone
24
Xylophone, Piano
21
Xylophone
14
Percussion
10
Big band
8
2 Xylophones
8
Timbales (partie séparée)
7
Orchestre, Violon
6
Ensemble d'École
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Quintette de Cuivres: autres combinaisons
4
Piano et Orchestre
4
Vibraphone et Marimba
3
Quintette à Vent
3
Instrumentation Flexible
3
Cajon
2
Caisse Claire
2
Marimba et Orgue
1
2 Percussions
1
Marimba, Piano (duo)
1
Timbales
1
2 Marimbas
1
Vibraphone (partie séparée)
1
Conga
1
Xylophone ou Marimba ou Vibraphone
1
Bongos
1
Bodhran
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
9
Théorie de la musique
6
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Piano et Orchestre
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1
Concerto in C-Moll, Opus 12
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabrie…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabriel Pierne. Edited by Jenni Pinnock. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 12. 166 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-049-4). ISBN 9790501790494.Gabriel Pierne became well known as a conductor in Paris in the early 20 century; however, his compositional output became overshadowed by that of his contemporaries, including Saint-Saens. This early Concerto in c-moll is a hidden treasure, featuring virtuosic piano writing, powerful themes, and orchestral accompaniment that allows the brilliance of the soloist to shine through.
$26.95
24.69 €
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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
Ballade for Piano and Orchestra No.1
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,…
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069109 Composed by Joseph Hull. Contemporary. Full Performance. Duration 47. Genesis #3014325. Published by Genesis (A0.1069109). This work was begun in 2003. Since that time it has undergone a number of revisions, culminating in its final form in 2016. It has three movements labeled: 1. Andante con moto 2. Allegro 3. Un poco allegretto. I do not think of this as a concerto but a freely expressed piece tied to no particular form. The piano is dominant throughout providing ample opportunity for virtuosity. A full orchestra is employed .
$3.99
3.65 €
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Piano et Orchestre
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Joseph Hull
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Ballade for Piano and Orchestra No.1
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Genesis
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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)
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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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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)
$99.99
91.59 €
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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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