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--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
That\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
Non classifié
19 183
Piano & claviers
Piano seul
12 400
Piano, Voix
5 626
Piano, Voix et Guitare
3 979
Piano Facile
3 557
Accompagnement Piano
2 233
Instruments en Do
1 399
Orgue
1 013
1 Piano, 4 mains
298
Piano Trio: piano, violon, violoncelle
200
Piano grosses notes
140
Piano (partie séparée)
117
2 Pianos, 4 mains
99
Accordéon
78
Piano Quatuor: piano, 2 violons, violoncelle
76
Piano Quatuor: piano, violon, alto, violoncelle
52
Orgue, Trompette (duo)
30
Piano Quintette: piano, 2 violons, alto, violoncelle
26
Orgue, Piano (duo)
23
Clavecin
17
Ligne De Mélodie, Piano
10
1 Piano, 6 mains
8
2 Pianos, 8 mains
7
Clavier
5
Accordéon, Voix
2
Ensemble d'Accordéons
1
Instrument seul et Orgue
1
Orgue et Orchestre
1
+ 22 instrumentations
Retracter
Guitares
Guitare notes et tablatures
1 530
Guitare
1 157
Ligne De Mélodie, (Paroles) et Accords
983
Ukulele
640
Paroles et Accords
327
Basse electrique
240
Guitare (partie séparée)
224
2 Guitares (duo)
90
Piano, Guitare (duo)
69
Mandoline
61
4 Guitares (Quatuor)
56
Dulcimer
51
Banjo
48
3 Guitares (trio)
28
Ensemble de guitares
21
Mandoline, Guitare (duo)
7
2 Dulcimers (duo)
5
Basse électrique (partie séparée)
4
Guitare, Violon, Violoncelle (trio)
4
Guitare, Flûte, Clarinette
2
Guitare, Orchestre
2
Ukulele Baryton
2
Guitare Pedal Steel
2
Mandoline, Piano (duo)
2
Dobro
1
Guitare, Quatuor à cordes
1
Cithare
1
Ensemble de Ukulélés
1
Guitare Tab, Voix, Basse, Batterie
1
2 Ukuleles
1
Orchestre à Plectres
1
+ 26 instrumentations
Retracter
Voix
Chorale SATB
6 896
Chorale 2 parties
2 935
Chorale 3 parties
2 535
Chorale Unison
2 045
Voix duo, Piano
1 296
Chorale TTBB
1 023
Chorale SSAA
610
Voix duo
361
Voix Soprano, Piano
302
Voix Alto, Piano
238
Voix Tenor, Piano
224
Voix Baryton, Piano
127
Voix seule
121
Voix haute
106
Chorale
103
Pack Instrumental pour Chorale
103
Voix moyenne, Piano
55
Voix Tenor
43
Voix Soprano
36
Voix basse, Piano
27
Chorale SSAATTBB
19
Chorale SSATB
14
Voix Mezzo-Soprano, Piano
10
Voix basse
9
Chorale SSATTB
8
Voix, Guitare
6
Soli, choeur mixte et accompagnement
5
Chorale SATBB
3
Chorale SSAB, Piano
3
Chorale SSAB a cappella
3
Male Voice
2
Chorale, Orgue
2
Chorale SSAATB
1
Voix haute, Piano
1
Chorale SATTB
1
+ 30 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
1 430
Flûte traversière et Piano
1 222
2 Saxophones (duo)
1 036
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1 029
Clarinette et Piano
998
Flûte, Hautbois, Clarinette, Basson
975
Saxophone (partie séparée)
915
Hautbois, Piano (duo)
876
Saxophone Alto et Piano
853
Flûte traversière
811
Clarinette
732
Saxophone Tenor et Piano
687
Quintette de Saxophone: 5 saxophones
620
Saxophone Soprano et Piano
587
2 Flûtes traversières (duo)
564
Saxophone Alto
529
Quatuor de Clarinettes: 4 clarinettes
528
2 Clarinettes (duo)
519
Saxophone Tenor
358
Hautbois (partie séparée)
317
Flûte, Clarinette (duo)
308
Quatuor de Flûtes : 4 flûtes
306
3 Saxophones (trio)
294
Ensemble de Clarinettes
267
Saxophone Baryton, Piano
257
Ensemble de saxophones
235
Clarinette, Violon (duo)
233
Saxophone
228
Ensemble de Flûtes
201
2 Hautbois (duo)
199
Clarinette (partie séparée)
187
Saxophone, Clarinette (duo)
177
Flûte, Violon
149
Hautbois, Basson (duo)
148
3 Clarinettes (trio)
141
2 Flûte à bec (duo)
139
Quintette de Clarinettes: 5 clarinettes
138
Hautbois
131
Flute (partie séparée)
128
Trio de Flûtes: 3 flûtes
123
Quintette de Flûte : 5 flûtes
123
Cor anglais, Piano
115
Hautbois, Clarinette (duo)
112
Flûte, Violon, Piano
99
Clarinette, Trompette (duo)
98
Clarinette Basse, Piano
93
Saxophone Soprano
89
Flûte irlandaise
87
Clarinette et Alto
84
Flûte et Guitare
82
Flûte, Hautbois, Clarinette (trio)
80
Clarinette, Basson (duo)
76
2 Flûtes traversières, Piano
74
Flûte, Violoncelle
71
Flûte à bec Soprano
71
Flûte, Alto (duo)
71
Flûte, Saxophone (duo)
70
Quatuor de Flûtes à bec
69
Hautbois, Flûte
65
Clarinette, Violoncelle (duo)
63
Flûte, Trompette (duo)
63
Saxophone Baryton
60
Flûte, Clarinette et Basson
57
Flûte, Hautbois (duo)
54
Hautbois, Clarinette, Basson (trio d'anches)
52
Flûte, Clarinette, Piano (trio)
52
2 Clarinettes, Piano
48
Hautbois, Violoncelle
48
Flûte, Violon et Violoncelle
41
Flûte à Bec
39
Flûte à bec Alto
38
Clarinette, Guitare (duo)
36
Clarinette, Violoncelle, Piano (trio)
36
Hautbois, violon (duo)
34
Harmonica
33
5 Flûtes à bec
33
Flûte, trombone et piano
30
Flûte, Violoncelle, Piano (trio)
30
Flûte, Hautbois, Piano (trio)
29
Ocarina
28
Flûte, Hautbois, Basson
28
Flûte, Trombone (duo)
27
Flûte, Basson et Piano
25
Clarinette, Trombone (duo)
24
Flûte, Alto et Piano
24
Instruments en Mib
21
3 Flûtes à bec (trio)
20
Flûte à bec Tenor
16
Piccolo, Piano
16
Flûte à bec Alto, Piano
15
Flûte à bec Soprano, Piano
14
Clarinette, trompette et piano
13
2 Saxophones, Piano
13
Ensemble De Flûte à bec
13
3 Hautbois
12
Cor Anglais
12
Hautbois et alto (duo)
12
4 Hautbois
11
Flûte, Violon, Violoncelle et Piano
11
Clarinette Basse
11
Hautbois, Guitare (duo)
10
Hautbois, Trompette (duo)
10
Flûte, Clarinette, Cor, Basson (Quartet)
10
Saxophone, Violon (duo)
10
Cor anglais, Guitare (duo)
9
Saxophone et Guitare
9
Flute, harpe et violon
8
Piccolo
6
Flûte, Violoncelle, Guitare
6
Hautbois, Harpe
6
Ensemble à vent
6
Clarinette, Harpe (duo)
6
Saxophone et Orgue
6
Saxophone et Harpe
5
Flûte et Trio à cordes
5
Hautbois, Violin, Alto et Violoncelle (Quatuor)
4
Flûte traversière, Orgue (duo)
4
Hautbois, trombone (duo)
4
Clarinette, Tuba
4
Flûte à Bec, Piano
4
Clarinette, Basson, Piano (trio)
3
Flûte, Tuba (duo)
3
2 Clarinettes, Basson
3
Flûte, Violon, Guitare
3
Clarinette, Alto et Piano (trio)
3
Hautbois, Clarinette et Piano (Trio)
3
Hautbois, Violon, Piano
3
Cornemuse
3
2 Cors Anglais Et Pianoforte
3
Flute, Cor (duo)
3
Flûte, Harpe et Violoncelle
2
Hautbois, Basson et Piano
2
2 Hautbois, Piano
2
Ensemble de Hautbois
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Clarinette, Contrebasse (duo)
2
Flûte à bec Alto, Basse continue
2
Flûte traversière, Basse continue
2
Flûte, alto et harpe
2
Flûte, Hautbois, Violon
2
Saxophone, Tuba (duo)
1
Clarinette, Orgue
1
Flûte à bec, Guitare (duo)
1
Clarinette, Saxophone, Piano
1
2 Hautbois, 2 Cors et 2 Bassons
1
Harmonica, Piano
1
Flûte à bec, Harpe
1
Saxophone, Basson (duo)
1
Flûte, Clarinette, Violon (trio)
1
2 Flûtes à bec, Piano
1
Cor anglais et Harpe (duo)
1
Saxophone et violoncelle
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
+ 148 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1 174
Trompette, Piano
852
Trombone et Piano
851
Quatuor de Cuivres : 2 trompettes, trombone, tuba
814
Trompette
801
Trombone (partie séparée)
707
Trompette (partie séparée)
607
Cor et Piano
603
Trombone
534
Cor
404
Quatuor de Cuivres: 2 trompettes, Cor, trombone
387
Tuba et Piano
336
2 Trombones (duo)
315
2 Trompettes (duo)
305
Tuba
293
Quatuor de Cuivres
226
Trompette, Trombone (duo)
186
2 Cors (duo)
167
Euphonium, Piano (duo)
153
Quatuor de cuivres: 4 trombones
141
Cor (partie séparée)
139
Trompette, Saxophone (duo)
137
Tuba (partie séparée)
122
Ensemble de Trombones
117
Ensemble de Trompettes
117
Cor anglais, Piano
115
Trompette, Cor (duo)
114
2 Tubas (duo)
79
Quatuor de cuivres: 4 cors
65
Quatuor de cuivres: 4 trompettes
45
Trio de Cuivres
41
Euphonium
37
Ensemble de Cors
35
2 Euphoniums et 2 Tubas
34
Quatuor de cuivres: 2 trompettes, 2 trombones
31
Bass Clef Instruments
29
2 Euphoniums (duo)
28
Trompette, Violoncelle et Piano
27
3 Trombones (trio)
25
Cor, Violoncelle (duo)
24
Instruments en Sib
23
4 Tubas
22
Tuba et Orgue
17
3 Trompettes (trio)
16
Trompette, Basson (duo)
15
Trompette, Violoncelle (duo)
13
Trompette, violon (duo)
13
Instruments en Fa
12
Cor Anglais
12
Trombone basse et Piano
11
Trompette, Tuba (duo)
10
Trombone, Tuba (duo)
10
Trombone basse
10
3 Cors (trio)
10
Trombone, Orgue
9
Cor anglais, Guitare (duo)
9
Trombone, violoncelle (duo)
9
Cor et Basson (duo)
9
2 Trompettes, Clavier (piano ou orgue)
8
Trombone, Cor (duo)
8
3 Tubas (trio)
7
Euphonium, Tuba (duo)
6
Trompette et Guitare
6
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
Cor, Tuba (duo)
3
2 Cors, Piano
3
2 Cors Anglais Et Pianoforte
3
3 Euphoniums
3
Cor et Orgue
2
Trombone, Alto (duo)
2
Trompette, Harpe
1
Cornet et orchestre
1
Cor, Trompette, Trombone (trio)
1
Trompette, Orchestre
1
Cor, Violoncelle et Piano
1
Ensemble de Tubas
1
Tuba ou Euphonium ou Saxhorn
1
Trompette, Euphonium (duo)
1
Cor anglais et Harpe (duo)
1
+ 78 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
3 104
Violon et Piano
1 427
Violon
1 142
Violoncelle, Piano
975
Alto, Piano
914
Violon, Violoncelle (duo)
783
Violoncelle
772
Trio à Cordes: violon, alto, violoncelle
635
Harpe
507
Alto seul
499
2 Violons (duo)
466
Quintette à cordes: 2 violons, alto, violoncelle, basse
379
2 Violoncelles (duo)
359
Violon, Alto (duo)
307
Contrebasse, Piano (duo)
263
Violon (partie séparée)
258
Contre Basse
248
2 Altos (duo)
246
Contrebasse (partie séparée)
237
Trio à Cordes: 2 violons, violoncelle
233
Alto (partie séparée)
196
2 Harpes (duo)
142
Piano Trio: Violon, Alto, Piano
129
Alto, Violoncelle (duo)
114
4 Violoncelles
86
Trio à cordes: 3 violins
81
Violoncelle (partie séparée)
59
2 Contrebasses (duo)
57
Trio à Cordes: 3 violoncelles
55
Violon, Basson (duo)
53
Quatuor à cordes: 4 violons
51
Violon, Guitare (duo)
43
Violoncelle, Contrebasse (duo)
34
Ensemble de Violons
32
Alto et Basson
31
Trio à cordes: 3 altos
31
Ensemble d'Altos
28
Violoncelle , Guitare (duo)
27
Harpe, Flûte (duo)
23
Harpe, Violon (duo)
22
Quatuor à cordes : 4 altos
21
Quintette à cordes: 2 violons, 2 altos, violoncelle
21
Harpe, Voix
18
Trio à Cordes: 2 violons, alto
18
Violon, Clarinette, Piano (trio)
17
Harpe, Violoncelle (duo)
15
Alto, Guitare (duo)
12
Quintette à cordes : 2 violons, alto et 2 violoncelles
11
Alto et Harpe
11
Violoncelle, Orgue
9
2 Violons, Piano
8
Flûte, Contrebasse (duo)
8
Harpe, Trombone (duo)
5
Harpe, Violon, Violoncelle
5
4 Contrebasses
5
Ensemble de Violoncelles
5
Harpe et Piano
4
3 Harpes
4
4 Harpes
3
Violoncelle, Basse continue
3
Violon, Tuba (duo)
3
Violoncelle, Orchestre
3
Violon, Trompette et Piano
2
2 Violoncelles, Piano
2
Violon, Orgue
2
Autoharp
2
Trio à cordes
2
Harpe et mandoline
2
5 Harpes
2
Violon, Violoncelle, Clarinette
1
Alto et orchestre
1
Harpe et Orgue
1
+ 67 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
7 538
Orchestre à Cordes
1 703
Orchestre
1 302
Ensemble Jazz
1 255
Fanfare
905
Ensemble de cuivres
687
Cloches
539
Orchestre de chambre
422
Batterie
271
Jazz combo
255
Ensemble de Percussions
193
Batterie (partie séparée)
139
Percussion (partie séparée)
128
Marimba
31
Vibraphone
25
Xylophone, Piano
23
Xylophone
14
Percussion
12
Timbales (partie séparée)
10
2 Xylophones
8
Big band
8
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
6
Orchestre, Violon
6
Ensemble d'École
5
Piano et Orchestre
4
Quintette de Cuivres: autres combinaisons
4
Instrumentation Flexible
3
Quintette à Vent
3
Vibraphone et Marimba
3
Cajon
2
Caisse Claire
2
2 Marimbas
1
2 Percussions
1
Bongos
1
Timbales
1
Marimba, Piano (duo)
1
Vibraphone (partie séparée)
1
Conga
1
Marimba et Orgue
1
Bodhran
1
Xylophone ou Marimba ou Vibraphone
1
+ 36 instrumentations
Retracter
Autres
Formation musicale - Solfège
9
Théorie de la musique
6
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
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TROMBONE
TROMPETTE
TUBA
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CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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CONTEMPORAIN - NEW A…
COUNTRY
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ENFANTS : EVEIL - IN…
FILM - TV
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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
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Piano et Orchestre
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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
24.73 €
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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
3.66 €
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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)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
22.02 €
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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
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
91.76 €
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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
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