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Instruments
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FLUTE
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FLUTE A DIX…
FLUTE DE PA…
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HARMONICA
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HAUTBOIS
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MANDOLINE
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36
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7
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136
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30 580
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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FLAMENCO
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
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METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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PUNK
RAGTIME
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THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
33092
PIANO & CLAVIERS
Piano seul
24158
Piano, Voix et Guitare
10853
Piano, Voix
8841
Piano Facile
6123
Orgue
2162
Instruments en Do
1623
1 Piano, 4 mains
703
Accompagnement Piano
589
Accordéon
462
Piano (partie séparée)
398
Piano grosses notes
362
Piano Trio: piano, violon, violoncelle
285
2 Pianos, 4 mains
247
Piano Quatuor: piano, 2 violons, violoncelle
171
Orgue, Trompette (duo)
135
Piano Quatuor: piano, violon, alto, violoncelle
72
Clavecin
68
Orgue, Piano (duo)
48
1 Piano, 6 mains
37
Piano Quintette: piano, 2 violons, alto, violoncelle
36
Accordéon, Voix
25
2 Pianos, 8 mains
17
Ligne De Mélodie, Piano
13
Ensemble d'Accordéons
10
Clavier
8
Instrument seul et Orgue
5
Orgue, Voix
5
2 Accordéons
3
Concertina
3
Accordéon et Orchestre
2
2 Orgues (duo)
2
Accordéon, Corde(s)
1
Orgue et Orchestre
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
4122
Guitare
3085
Ligne De Mélodie, (Paroles) et Accords
2993
Ukulele
1308
Paroles et Accords
911
Basse electrique
683
Guitare (partie séparée)
348
2 Guitares (duo)
197
Piano, Guitare (duo)
188
Mandoline
155
4 Guitares (Quatuor)
91
Ensemble de guitares
65
Dulcimer
53
Basse électrique (partie séparée)
52
Banjo
50
3 Guitares (trio)
35
Mandoline, Guitare (duo)
15
Ensemble de Ukulélés
12
Partitions De Groupes
8
Mandoline, Piano (duo)
7
Guitare Pedal Steel
5
Guitare, Violon, Violoncelle (trio)
5
2 Ukuleles
4
Dobro
4
Ukulele Baryton
3
3 Dulcimers (trio)
2
Guitare, Orchestre
1
Orchestre à Plectres
1
Guitare, Flûte, Clarinette
1
2 Guitares et Piano
1
2 Dulcimers (duo)
1
Instrumentations suivantes
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VOIX
Chorale SATB
14466
Chorale 2 parties
5430
Chorale 3 parties
4903
Voix duo, Piano
2099
Chorale Unison
2080
Chorale TTBB
2009
Chorale SSAA
1158
Voix duo
817
Voix seule
593
Chorale
389
Voix Soprano, Piano
222
Voix haute
151
Voix moyenne, Piano
79
Voix Alto, Piano
76
Chorale SSAATTBB
62
Voix Tenor, Piano
56
Voix et basse continue
55
Voix Tenor
50
Voix basse, Piano
49
Chorale SSATB
47
Voix Soprano
34
Chorale SSATTB
32
Soli, choeur mixte et accompagnement
27
Voix Baryton, Piano
20
Voix basse
19
Voix Mezzo-Soprano, Piano
15
Voix, Guitare
12
Male Voice
7
Chorale SSAB a cappella
6
Chorale SSAATB
5
Chorale SATBB
5
Chorale SSAB, Piano
4
Chorale SAATB A Cappella
3
Voix Moyenne
3
Voix Soprano, Orchestre
2
Chorale, Orgue
2
Chorale, Orchestre
1
Chorale SSAATB A Cappella
1
Voix duo, Orgue
1
Voix haute, Piano
1
Chorale SSATBB
1
Chorale SATTBB A Cappella
1
Instrumentations suivantes
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VENTS
Quatuor de Saxophones: 4 saxophones
2825
Saxophone (partie séparée)
2557
Flûte traversière et Piano
2163
Flûte, Hautbois, Clarinette, Basson
2125
Flûte traversière
2087
Clarinette
1774
Clarinette et Piano
1713
Saxophone Alto et Piano
1479
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1461
Saxophone Alto
1340
Hautbois, Piano (duo)
1312
Saxophone
1290
Saxophone Tenor et Piano
1283
2 Saxophones (duo)
1210
Saxophone Tenor
1163
Saxophone Soprano et Piano
1006
Clarinette (partie séparée)
914
Quatuor de Clarinettes: 4 clarinettes
861
Hautbois (partie séparée)
789
Quintette de Saxophone: 5 saxophones
691
2 Flûtes traversières (duo)
668
2 Clarinettes (duo)
632
Flute (partie séparée)
539
Quatuor de Flûtes : 4 flûtes
466
Flûte, Clarinette (duo)
446
Ensemble de Clarinettes
356
Saxophone Baryton, Piano
352
3 Saxophones (trio)
327
Quintette de Clarinettes: 5 clarinettes
324
Ensemble de saxophones
277
3 Clarinettes (trio)
260
Ensemble de Flûtes
259
Hautbois
255
Flûte et Guitare
213
2 Hautbois (duo)
208
Instruments en Mib
174
2 Flûte à bec (duo)
172
Trio de Flûtes: 3 flûtes
172
Flûte à Bec
170
Cor anglais, Piano
164
Saxophone Soprano
160
Hautbois, Basson (duo)
153
Quatuor de Flûtes à bec
140
3 Flûtes à bec (trio)
131
Saxophone, Clarinette (duo)
131
Hautbois, Clarinette (duo)
123
Clarinette, Violon (duo)
119
Flûte irlandaise
119
Clarinette Basse, Piano
113
Flûte, Violon
109
Quintette de Flûte : 5 flûtes
106
Flûte, Hautbois, Clarinette (trio)
98
Flûte à bec Soprano
94
Clarinette, Basson (duo)
91
Flûte, Clarinette et Basson
88
Hautbois, Clarinette, Basson (trio d'anches)
84
Clarinette, Guitare (duo)
80
Saxophone Baryton
78
Flûte, Violoncelle
77
Flûte, Hautbois (duo)
72
Flûte à bec Alto
66
Clarinette, Trompette (duo)
64
Clarinette et Alto
63
Hautbois, Flûte
62
Cor Anglais
56
Clarinette, Violoncelle (duo)
56
Ensemble De Flûte à bec
54
Flûte, Hautbois, Basson
53
Hautbois, Violoncelle
52
5 Flûtes à bec
52
Flûte à bec Alto, Basse continue
50
Flûte, Trompette (duo)
48
Flûte à bec Alto, Piano
46
Flûte, Alto (duo)
46
Flûte, Saxophone (duo)
42
Cornemuse
41
Harmonica
40
Flûte traversière, Basse continue
38
Saxophone et Orgue
37
Flûte, Violon, Piano
34
Flûte, Violon et Violoncelle
34
Flûte à bec Tenor
33
Piccolo
32
Hautbois, violon (duo)
27
Flûte à Bec, Piano
26
Saxophone et Guitare
25
Flûte, Clarinette, Piano (trio)
25
Flûte, Violoncelle, Piano (trio)
24
Piccolo, Piano
23
2 Saxophones, Piano
22
2 Flûtes traversières, Piano
21
Flûte traversière, Orgue (duo)
21
Cor anglais, Guitare (duo)
19
Clarinette Basse
18
Flûte à bec Soprano, Piano
18
Flûte, Clarinette, Cor, Basson (Quartet)
18
Hautbois, Guitare (duo)
17
2 Clarinettes, Piano
17
Flûte, Trombone (duo)
17
Flûte, Basson et Piano
17
Flute, Cor (duo)
16
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
16
Clarinette, Violoncelle, Piano (trio)
15
2 Clarinettes, Basson
13
Clarinette, Harpe (duo)
13
Saxophone et Harpe
13
Hautbois et alto (duo)
13
3 Hautbois
13
Saxophone, Violon (duo)
12
Flute, harpe et violon
12
Flûte et Trio à cordes
12
Clarinette, Basson, Piano (trio)
12
Flûte et Quatuor à Cordes
11
Flûte, Hautbois, Piano (trio)
11
Flûte à bec, Guitare (duo)
10
Flûte à bec Soprano, Basse continue
10
Saxophone et Piano
10
Flûte, Alto et Piano
10
Ocarina
9
Flûte, trombone et piano
9
Hautbois, Harpe
8
Clarinette, Alto et Piano (trio)
7
Flûte, Violon, Violoncelle et Piano
7
Flûte, Harpe et Violoncelle
7
Hautbois, Basson et Piano
7
Clarinette, Orgue
7
2 Flûtes, Basse continue
6
Hautbois, Violoncelle et Piano
6
4 Hautbois
6
Hautbois, Clarinette et Piano (Trio)
6
Hautbois, Violon, Piano
5
Clarinette, Tuba
5
Flûte, Clarinette, Violon (trio)
5
Harmonica, Piano
4
Ensemble à vent
4
Hautbois, trombone (duo)
4
Hautbois, Violin, Alto et Violoncelle (Quatuor)
4
Quintette de Clarinette: Clarinette, Quatuor à Cordes
3
Flûte, Violoncelle, Guitare
3
Flûte, Hautbois, Violon
3
2 Cors Anglais Et Pianoforte
3
Clarinette, Contrebasse (duo)
3
Flûte, Tuba (duo)
3
Clarinette, trompette et piano
2
Flûte, Violon, Guitare
2
Saxophone, Tuba (duo)
2
Flûte traversière, Orchestre
2
Clarinette, Trombone (duo)
2
2 Flûtes, 2 Clarinettes (Quatuor)
2
Saxophone et violoncelle
1
Cor anglais et Harpe (duo)
1
Ensemble de Hautbois
1
2 Flûtes traversières, Guitare
1
2 Flûtes à bec, Guitare
1
Flûte, alto et harpe
1
Hautbois et Orchestre
1
Flûte, Guitare, Piano
1
2 Harmonicas
1
2 Flûtes à bec, Piano
1
3 Flûtes à bec, Piano
1
Saxophone, Basson (duo)
1
Instrumentations suivantes
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CUIVRES
Trompette
1986
Trompette (partie séparée)
1833
Trombone (partie séparée)
1741
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1732
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1431
Trompette, Piano
1425
Trombone
1420
Trombone et Piano
1399
Cor et Piano
922
Cor
824
Cor (partie séparée)
598
Quatuor de Cuivres: 2 trompettes, Cor, trombone
539
Quatuor de Cuivres
452
Tuba
437
2 Trombones (duo)
428
2 Trompettes (duo)
426
Tuba et Piano
369
Tuba (partie séparée)
276
Trompette, Cor (duo)
238
2 Cors (duo)
233
Trompette, Trombone (duo)
216
Euphonium, Piano (duo)
215
Quatuor de cuivres: 4 trombones
186
Bass Clef Instruments
175
Cor anglais, Piano
164
Euphonium
141
Instruments en Sib
111
Trompette, Saxophone (duo)
106
Ensemble de Trombones
106
Quatuor de cuivres: 4 cors
104
Ensemble de Trompettes
104
Trio de Cuivres
77
2 Tubas (duo)
72
2 Euphoniums et 2 Tubas
57
Cor Anglais
56
Quatuor de cuivres: 2 trompettes, 2 trombones
56
3 Trombones (trio)
48
Ensemble de Cors
36
Quatuor de cuivres: 4 trompettes
36
4 Tubas
35
3 Trompettes (trio)
30
Cor, Violoncelle (duo)
27
2 Trompettes, Clavier (piano ou orgue)
27
Trombone, Orgue
26
Trombone, Tuba (duo)
25
Trombone basse et Piano
24
Trompette, Basson (duo)
23
Tuba ou Euphonium ou Saxhorn
22
2 Euphoniums (duo)
19
Cor anglais, Guitare (duo)
19
Tuba et Orgue
19
Trombone basse
18
Trompette, violon (duo)
18
Trombone, Cor (duo)
17
Euphonium, Tuba (duo)
17
Trompette, Violoncelle (duo)
15
Clarinette, Cor (duo)
13
Cor et Harpe
13
Cor et Orgue
12
Cor et Basson (duo)
12
Trompette, Tuba (duo)
12
Instruments en Fa
10
Trompette, Harpe
9
Cor, Tuba (duo)
9
Trompette, Trombone, Piano
8
3 Cors (trio)
8
Trompette et Guitare
6
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
5
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
5
3 Tubas (trio)
5
Ensemble de Tubas
5
2 Trombones, Piano
5
Bugle
4
Trombone et orchestre
4
Cornet A Pistons
3
Trombone, Violon (duo)
3
2 Cors Anglais Et Pianoforte
3
Trompette, Violoncelle et Piano
3
Cornet et Piano
2
3 Euphoniums
2
Trompette, Orchestre
1
Cornet et orchestre
1
Trombone, Alto (duo)
1
Cor anglais et Harpe (duo)
1
2 Cors, Piano
1
Trompette, Euphonium (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
6640
Violon et Piano
2638
Violon
2357
Violoncelle, Piano
1810
Violoncelle
1576
Alto, Piano
1542
Alto seul
1073
Violon, Violoncelle (duo)
1038
Violon (partie séparée)
933
Contrebasse (partie séparée)
808
Trio à Cordes: violon, alto, violoncelle
779
Harpe
774
2 Violons (duo)
654
2 Violoncelles (duo)
635
Alto (partie séparée)
561
Quintette à cordes: 2 violons, alto, violoncelle, basse
449
Violon, Alto (duo)
437
Contre Basse
361
Violoncelle (partie séparée)
360
2 Altos (duo)
336
Contrebasse, Piano (duo)
317
Piano Trio: Violon, Alto, Piano
275
Trio à Cordes: 2 violons, violoncelle
251
Alto, Violoncelle (duo)
159
Harpe (partie séparée)
128
4 Violoncelles
128
Violon, Guitare (duo)
122
2 Harpes (duo)
105
Violoncelle , Guitare (duo)
75
Trio à Cordes: 3 violoncelles
67
2 Contrebasses (duo)
63
Trio à cordes: 3 violins
61
Violon, Basse continue
55
Harpe, Flûte (duo)
49
Alto, Guitare (duo)
45
Quatuor à cordes: 4 violons
43
Violon, Basson (duo)
43
Violoncelle, Basse continue
41
2 Violons et Basse continue
39
Violoncelle, Contrebasse (duo)
39
Trio à Cordes: 2 violons, alto
36
Trio à cordes
33
Quatuor à cordes : 4 altos
33
Harpe, Violon (duo)
32
Violoncelle, Orgue
31
Alto et Basson
31
Quintette à cordes: 2 violons, 2 altos, violoncelle
30
Ensemble de Violons
30
Trio à cordes: 3 altos
28
Ensemble d'Altos
27
2 Violons, Piano
25
Harpe, Voix
24
Violon, Orgue
21
Violon, Clarinette, Piano (trio)
18
Quintette à cordes : 2 violons, alto et 2 violoncelles
18
Flûte, Contrebasse (duo)
14
Ensemble de Violoncelles
12
Harpe, Violon, Violoncelle
11
Alto et Harpe
10
Harpe, Violoncelle (duo)
10
Harpe, Trombone (duo)
7
Harpe et Piano
5
Alto, Orgue
4
3 Harpes
4
Violoncelle, Orchestre
4
Violon, Tuba (duo)
3
Autoharp
3
4 Contrebasses
3
Harpe et mandoline
2
Violon, Violoncelle, Clarinette
2
5 Harpes
2
2 Altos, Piano
1
Violon, Clarinette et Guitare
1
Harpe, Quatuor à cordes
1
4 Harpes
1
Violon, Trompette et Piano
1
Harpe et Orgue
1
Alto et orchestre
1
2 Violoncelles, Piano
1
3 Contrebasses
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
9787
Orchestre
2438
Ensemble Jazz
2354
Orchestre à Cordes
2195
Cloches
1501
Ensemble de cuivres
1121
Batterie
812
Jazz combo
796
Percussion (partie séparée)
780
Orchestre de chambre
713
Fanfare
628
Batterie (partie séparée)
352
Ensemble de Percussions
272
Percussion
157
Marimba
106
Timbales (partie séparée)
81
Vibraphone
65
Timbales
45
Xylophone
35
Xylophone, Piano
33
Quintette à Vent
16
Big band
11
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
10
Instrumentation Flexible
8
Ensemble d'École
8
Caisse Claire
7
Vibraphone (partie séparée)
7
Piano et Orchestre
7
Bongos
6
Vibraphone et Marimba
5
Quatuor à Vent : 4 instruments à vents
5
Orchestre, Violon
4
Quintette de Cuivres: autres combinaisons
4
Voix et Orchestre
3
Marimba, Piano (duo)
3
Xylophone (partie séparée)
3
Cajon
3
Conga
2
2 Marimbas
1
Orchestre Symphonique
1
Xylophone ou Marimba ou Vibraphone
1
Marimba et Orgue
1
2 Xylophones
1
Bodhran
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
11
Théorie de la musique
9
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Piano et Orchestre
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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
21.57 €
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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
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
23.56 €
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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
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
24.23 €
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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
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
19.74 €
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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
Klavierkonzert in C-Dur, Opus 7
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedr…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedrich Kuhlau. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 7. 191 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-055-5). ISBN 9790501790555.Exhibiting a natural talent for pastiche and an almost overwhelming abundance of original musical thought the Piano Concerto in C opus 7 took Beethoven's famous Piano Concerto in C opus 15 as its inspiration. Premiere performances of the concerto in Copenhagen 1811, secured a future for the German born composer as a Danish Romantic icon for future generations and this concerto is part of his legacy: as fresh and serene today as the day of its first performance.
$26.95
24.23 €
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Piano et Orchestre
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Friedrich Kuhlau
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Klavierkonzert in C-Dur, Opus 7
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Bisel Classics - Digital
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
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Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
179.84 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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SheetMusicPlus
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