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ACCORDEON
ALTO
AUTRES INST…
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BASSE
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CLOCHES
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COR
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DOBRO - GUI…
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EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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GUITARE PED…
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HARPE
HAUTBOIS
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LUTH, THEOR…
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ORCHESTRE
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TROMPETTE
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VIOLONCELLE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
145193
PIANO & CLAVIERS
Piano, Voix et Guitare
142408
Piano seul
116007
Piano, Voix
64470
Piano Facile
34338
Instruments en Do
8564
Orgue
7971
1 Piano, 4 mains
7920
Piano grosses notes
5415
Accordéon
3574
Accompagnement Piano
3348
Piano Trio: piano, violon, violoncelle
1755
Piano (partie séparée)
1724
2 Pianos, 4 mains
1170
Piano Quatuor: piano, violon, alto, violoncelle
523
Piano Quintette: piano, 2 violons, alto, violoncelle
486
Piano Quatuor: piano, 2 violons, violoncelle
466
Orgue, Trompette (duo)
375
Orgue, Piano (duo)
282
1 Piano, 6 mains
239
Ligne De Mélodie, Piano
215
Clavecin
136
Clavier
112
2 Pianos, 8 mains
94
Accordéon, Voix
80
Ensemble d'Accordéons
37
2 Accordéons
36
Orgue, Voix
19
Instrument seul et Orgue
18
Accordéon, Piano
13
Fake Book
13
Accordéon, Corde(s)
10
2 Orgues (duo)
10
Tous Les Instruments
9
Accordéon et Orchestre
7
Orgue et Orchestre
5
Ensemble de Pianos
3
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Piano Trio: Instruments de chambre mixtes
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
72948
Ligne De Mélodie, (Paroles) et Accords
47821
Paroles et Accords
22817
Guitare
15502
Basse electrique
7694
Ukulele
6930
Guitare (partie séparée)
2137
2 Guitares (duo)
1370
Mandoline
1343
Piano, Guitare (duo)
799
Banjo
647
4 Guitares (Quatuor)
628
Dulcimer
492
Basse électrique (partie séparée)
415
Ensemble de guitares
329
3 Guitares (trio)
325
Partitions De Groupes
280
Ukulele Baryton
203
Ensemble de Ukulélés
85
Mandoline, Piano (duo)
79
2 Dulcimers (duo)
75
Mandoline, Guitare (duo)
66
Guitare Pedal Steel
61
Dobro
58
Guitare, Violon, Violoncelle (trio)
38
2 Ukuleles
25
3 Dulcimers (trio)
20
Guitare, Flûte, Clarinette
17
Orchestre à Plectres
13
2 Mandolines (duo)
11
Guitare, Orchestre
9
Guitare, Quatuor à cordes
9
Cithare
6
Luth
5
2 Guitares et Orchestre
4
Guitare, Harpe
2
Guitare Tab, Voix, Basse, Batterie
1
2 Guitares, Clarinette (trio)
1
Bouzouki
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
39208
Chorale 3 parties
15175
Chorale 2 parties
10081
Chorale TTBB
8541
Voix seule
7333
Pack Instrumental pour Chorale
6488
Chorale Unison
4998
Chorale SSAA
4673
Voix duo, Piano
3173
Chorale
2885
Voix haute
1350
Voix duo
1303
Voix Soprano, Piano
1105
Voix Tenor, Piano
640
Voix Alto, Piano
613
Voix Baryton, Piano
477
Voix basse, Piano
370
Voix moyenne, Piano
291
Voix, Guitare
132
Chorale SSATB
129
Voix Mezzo-Soprano, Piano
128
Chorale SSAATTBB
116
Voix Tenor
111
Soli, choeur mixte et accompagnement
106
Chorale SATTB
84
Chorale SSATBB
63
Voix haute, Piano
63
Voix Soprano
62
Chorale SSAB a cappella
47
Chorale SSATTB
42
Voix d'Enfants
42
Voix basse
41
Chorale SSAB, Piano
33
Male Voice
24
Chorale SAATB A Cappella
20
Voix Baryton
17
Chorale SSAATB
16
Chorale SATBB
11
Voix duo, Orgue
9
Voix Soprano, Orchestre
9
Chorale SATTBB, Clavier
8
Voix Moyenne
7
Chorale, Orgue
7
Voix et basse continue
3
Voix d'Enfants, Piano
2
Chorale SSAATB A Cappella
1
Paroles Seulement
1
Instrumentations suivantes
Retracter
VENTS
Saxophone (partie séparée)
26480
Saxophone
17008
Clarinette (partie séparée)
14981
Flûte traversière
14582
Flûte traversière et Piano
13891
Clarinette
13318
Clarinette et Piano
10006
Quatuor de Saxophones: 4 saxophones
7917
Saxophone Alto et Piano
7678
Hautbois, Piano (duo)
7310
Flute (partie séparée)
7111
Saxophone Alto
7104
Saxophone Tenor
6369
Hautbois (partie séparée)
6342
2 Saxophones (duo)
5785
Saxophone Tenor et Piano
5571
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5447
Flûte, Hautbois, Clarinette, Basson
5341
Quatuor de Clarinettes: 4 clarinettes
4215
2 Flûtes traversières (duo)
3917
2 Clarinettes (duo)
3563
Saxophone Soprano et Piano
3352
Quintette de Saxophone: 5 saxophones
2141
Quatuor de Flûtes : 4 flûtes
2100
Flûte et Guitare
1995
Hautbois
1967
Flûte, Clarinette (duo)
1957
3 Saxophones (trio)
1900
3 Clarinettes (trio)
1810
Flûte à Bec
1719
Saxophone Baryton, Piano
1473
Ensemble de Clarinettes
1283
Trio de Flûtes: 3 flûtes
1217
Cor anglais, Piano
1138
Saxophone Soprano
1122
Hautbois, Basson (duo)
973
2 Hautbois (duo)
967
Ensemble de Flûtes
966
Quintette de Clarinettes: 5 clarinettes
953
2 Flûte à bec (duo)
899
Flûte, Violon
880
Ensemble de saxophones
866
Clarinette, Violon (duo)
829
Hautbois, Clarinette (duo)
757
Instruments en Mib
745
Clarinette Basse, Piano
709
Saxophone, Clarinette (duo)
672
Flûte à bec Soprano
663
Flûte, Clarinette et Basson
660
Flûte, Violon, Piano
580
Clarinette, Basson (duo)
538
Flûte, Violoncelle
523
Flûte, Hautbois, Clarinette (trio)
513
Clarinette, Guitare (duo)
499
Ocarina
491
Quatuor de Flûtes à bec
474
Flûte, Hautbois (duo)
472
Harmonica
437
Flûte à bec Alto
421
Flûte, Hautbois, Basson
391
Hautbois, Flûte
380
Flûte à bec Soprano, Piano
365
Quintette de Flûte : 5 flûtes
359
Piccolo
356
Hautbois, Clarinette, Basson (trio d'anches)
351
Clarinette, Trompette (duo)
348
Clarinette, Violoncelle (duo)
342
Flûte à bec Alto, Piano
337
Clarinette Basse
332
Piccolo, Piano
328
Flûte, Alto (duo)
325
Flûte, Trompette (duo)
325
Flûte, Clarinette, Piano (trio)
320
Clarinette et Alto
306
Flûte, Violon et Violoncelle
304
3 Flûtes à bec (trio)
289
Flûte, Violoncelle, Piano (trio)
287
Flûte, Saxophone (duo)
271
Saxophone Baryton
269
Clarinette, Harpe (duo)
259
2 Saxophones, Piano
255
Saxophone et Guitare
243
2 Flûtes traversières, Piano
236
Flûte à bec Tenor
234
Flûte à Bec, Piano
234
Cor Anglais
232
Hautbois, Violoncelle
225
Hautbois, violon (duo)
204
2 Clarinettes, Piano
190
Ensemble De Flûte à bec
187
Flûte, Basson et Piano
175
Flûte, Trombone (duo)
169
5 Flûtes à bec
139
3 Hautbois
138
Hautbois, Guitare (duo)
131
Clarinette, Violoncelle, Piano (trio)
123
Flûte, Hautbois, Violon
123
Saxophone et Piano
117
Flûte, Hautbois, Piano (trio)
114
Flûte, Clarinette, Violon (trio)
113
Clarinette, Trombone (duo)
109
Saxophone, Violon (duo)
106
Cor anglais, Guitare (duo)
103
Hautbois, Trompette (duo)
98
Flûte irlandaise
97
Flûte à bec, Guitare (duo)
85
Flûte, Alto et Piano
81
Flûte, Harpe et Violoncelle
79
Flute, harpe et violon
78
Hautbois et alto (duo)
77
2 Clarinettes, Basson
77
4 Hautbois
77
Flûte, Clarinette, Cor, Basson (Quartet)
73
Clarinette, Basson, Piano (trio)
70
Flûte, Violon, Violoncelle et Piano
63
Saxophone et Orgue
63
Flûte traversière, Orgue (duo)
62
Flûte à bec Alto, Basse continue
54
Flûte et Trio à cordes
54
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
50
Cornemuse
48
Saxophone, Basson (duo)
46
Clarinette, Alto et Piano (trio)
45
Hautbois, trombone (duo)
45
Saxophone et Harpe
44
Flûte, Tuba (duo)
43
Harmonica, Piano
43
Flûte et Quatuor à Cordes
40
Hautbois, Harpe
39
Flûte, alto et harpe
37
2 Cors Anglais Et Pianoforte
36
Quintette de Clarinette: Clarinette, Quatuor à Cordes
35
Saxophone et violoncelle
34
Ensemble à vent
33
Flûte, trombone et piano
33
Flûte traversière, Basse continue
33
Hautbois, Basson et Piano
32
Clarinette, Tuba
30
Hautbois, Violoncelle et Piano
28
Hautbois, Violin, Alto et Violoncelle (Quatuor)
27
Flûte, Violoncelle, Guitare
26
Clarinette, trompette et piano
25
Flûte, Violon, Guitare
25
Flute, Cor (duo)
25
Clarinette, Orgue
22
2 Flûtes à bec, Piano
20
Flûte traversière, Orchestre
20
Hautbois, Violon, Piano
18
Clarinette, Orchestre
17
Clarinette, Contrebasse (duo)
16
Hautbois, Clarinette et Piano (Trio)
16
Flûte, Alto et Violoncelle
15
Saxophone et Orchestre
15
Cor anglais et Harpe (duo)
15
2 Flûtes traversières, Guitare
14
Ensemble de Hautbois
12
2 Hautbois, Piano
11
Hautbois, Orgue
10
Flûte à bec, Harpe
10
2 Flûtes traversières, Harpe
10
2 Hautbois et Cor anglais
10
Flûte à bec Soprano, Basse continue
10
2 Hautbois et Basson
9
Saxophone, Tuba (duo)
8
Hautbois et Orchestre
7
2 Flûtes, Basse continue
6
Hautbois, Quatuor à cordes
4
Flûte de Pan
4
Clarinette, Quatuor à cordes et Piano
3
2 Flûtes, 2 Clarinettes (Quatuor)
3
Hautbois, Clarinette, Basson et Piano
3
Clarinette, Saxophone, Piano
3
2 Flûtes à bec, Guitare
2
Melodica
2
3 Flûtes à bec, Piano
2
2 clarinettes, 2 bassons
1
Flute, alto, violoncelle et guitare
1
2 Hautbois, 2 Cors et 2 Bassons
1
Instrumentations suivantes
Retracter
CUIVRES
Trombone (partie séparée)
18495
Trompette (partie séparée)
18004
Trompette
12960
Trombone
10525
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7535
Cor (partie séparée)
6820
Trompette, Piano
6520
Trombone et Piano
6025
Tuba (partie séparée)
4973
Cor
4571
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4426
Cor et Piano
4378
Tuba
2262
Tuba et Piano
2112
2 Trompettes (duo)
1839
2 Trombones (duo)
1728
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1712
Quatuor de Cuivres
1500
Trompette, Trombone (duo)
1374
Euphonium, Piano (duo)
1228
Quatuor de cuivres: 4 trombones
1203
Cor anglais, Piano
1138
Bass Clef Instruments
1091
2 Euphoniums et 2 Tubas
1028
Euphonium
916
2 Cors (duo)
887
Quatuor de cuivres: 4 cors
738
Instruments en Sib
656
Trompette, Saxophone (duo)
643
4 Tubas
546
Trio de Cuivres
546
Trompette, Cor (duo)
523
Ensemble de Trombones
420
3 Trombones (trio)
400
Tuba ou Euphonium ou Saxhorn
381
Cornet A Pistons
368
2 Tubas (duo)
312
Trombone basse et Piano
274
3 Trompettes (trio)
265
Ensemble de Trompettes
242
Quatuor de cuivres: 4 trompettes
237
Cor Anglais
232
Trompette, Tuba (duo)
210
Trombone, Tuba (duo)
200
Ensemble de Cors
195
Tuba et Orgue
157
Euphonium, Tuba (duo)
136
Trompette, violon (duo)
131
2 Trompettes, Clavier (piano ou orgue)
127
Trombone, violoncelle (duo)
124
Quatuor de cuivres: 2 trompettes, 2 trombones
113
Trompette, Basson (duo)
112
Cor, Violoncelle (duo)
109
Trombone, Cor (duo)
105
Cor anglais, Guitare (duo)
103
Trombone, Violon (duo)
90
Trombone basse
89
Trompette, Violoncelle (duo)
84
Cor, Tuba (duo)
84
Euphonium (partie séparée)
84
3 Cors (trio)
81
2 Euphoniums (duo)
73
Trombone, Orgue
60
Cor et Harpe
56
Ensemble de Tubas
55
Cor et Basson (duo)
49
Trompette, Violoncelle et Piano
45
Trompette, Trombone, Piano
44
Instruments en Fa
43
2 Cors Anglais Et Pianoforte
36
Trompette et Guitare
36
Clarinette, Cor (duo)
34
Trompette, Harpe
34
3 Tubas (trio)
31
Trombone, Alto (duo)
25
Cor et Orgue
22
Cor, Trompette, Trombone (trio)
20
2 Trombones, Piano
19
Cornet et Piano
17
Trompette, Orchestre
15
Cor anglais et Harpe (duo)
15
Bugle
14
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
14
2 Cors, Piano
14
4 Euphoniums
13
3 Euphoniums
13
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
11
Cor, Orchestre
10
Trompette, Euphonium (duo)
8
Trombone et orchestre
8
Cor, Violoncelle et Piano
7
Euphonium Ou Saxhorn Et Piano
5
Saxhorn basse ou Euphonium ou Tuba et Piano
3
Cornet et orchestre
2
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
25916
Violon et Piano
18708
Violon
14104
Violoncelle, Piano
10742
Violon (partie séparée)
10210
Violoncelle
9406
Alto, Piano
8145
Alto seul
6926
Violon, Violoncelle (duo)
5271
Harpe
5107
Contrebasse (partie séparée)
5090
Trio à Cordes: violon, alto, violoncelle
3973
2 Violons (duo)
3475
Alto (partie séparée)
3466
Violoncelle (partie séparée)
3294
2 Violoncelles (duo)
2524
Violon, Alto (duo)
2511
Contrebasse, Piano (duo)
1739
Quintette à cordes: 2 violons, alto, violoncelle, basse
1734
Contre Basse
1720
Trio à Cordes: 2 violons, violoncelle
1595
2 Altos (duo)
1556
Alto, Violoncelle (duo)
1311
4 Violoncelles
874
Violon, Guitare (duo)
858
Trio à cordes: 3 violins
838
Piano Trio: Violon, Alto, Piano
710
Harpe, Flûte (duo)
685
Violoncelle , Guitare (duo)
654
2 Harpes (duo)
579
Trio à Cordes: 3 violoncelles
579
Harpe, Violon (duo)
395
Quatuor à cordes: 4 violons
384
Alto, Guitare (duo)
355
Trio à Cordes: 2 violons, alto
345
Violoncelle, Contrebasse (duo)
317
2 Contrebasses (duo)
306
2 Violons, Piano
297
Trio à cordes
295
Trio à cordes: 3 altos
288
Quatuor à cordes : 4 altos
253
Violon, Basson (duo)
245
Alto et Basson
165
Quintette à cordes: 2 violons, 2 altos, violoncelle
131
Harpe, Violoncelle (duo)
123
2 Violoncelles, Piano
97
Harpe (partie séparée)
90
Violon, Clarinette, Piano (trio)
89
Quintette à cordes : 2 violons, alto et 2 violoncelles
86
Violon, Orgue
73
Harpe et Piano
72
Alto et Harpe
72
Violoncelle, Orgue
71
Harpe, Voix
69
Ensemble de Violoncelles
60
2 Altos, Piano
60
Flûte, Contrebasse (duo)
56
Violon, Basse continue
54
4 Contrebasses
48
Harpe, Violon, Violoncelle
48
Violoncelle, Orchestre
48
Ensemble de Violons
43
2 Violons et Basse continue
39
Violoncelle, Basse continue
38
Violon, Tuba (duo)
32
3 Contrebasses
29
Ensemble d'Altos
29
Harpe et mandoline
24
Alto et orchestre
19
3 Harpes
17
Violon, Contrebasse (duo)
15
Violon, Violoncelle, Clarinette
15
Alto, Orgue
15
Harpe, Trombone (duo)
14
Violon, Trompette et Piano
14
Autoharp
13
Harpe et Orgue
8
Harpe, Orchestre
7
4 Harpes
7
5 Harpes
5
Harpe, Quatuor à cordes
5
Violon, Clarinette et Guitare
3
Violoncelle et Marimba
3
Ensemble de Contre basses
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
76880
Fanfare
17415
Orchestre
15301
Ensemble Jazz
13691
Orchestre à Cordes
10751
Batterie
9873
Percussion (partie séparée)
9149
Cloches
6572
Ensemble de cuivres
5530
Orchestre de chambre
3160
Batterie (partie séparée)
2658
Jazz combo
2348
Timbales (partie séparée)
2283
Percussion
2173
Ensemble de Percussions
1398
Timbales
344
Marimba
340
Vibraphone
318
Xylophone
316
Xylophone, Piano
120
Piano et Orchestre
105
Vibraphone (partie séparée)
96
Caisse Claire
93
Quintette à Vent
72
Big band
69
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
56
Instrumentation Flexible
55
Orchestre, Violon
51
2 Xylophones
49
Xylophone (partie séparée)
35
Batterie-Fanfare
32
Vibraphone et Marimba
25
Quintette de Cuivres: autres combinaisons
21
Quatuor à Vent : 4 instruments à vents
18
Ensemble d'École
17
3 Marimbas
16
Marimba, Piano (duo)
14
Marimba et Orgue
13
Vibraphone, Piano
9
Voix et Orchestre
8
Bongos
7
Trio à Vent: 3 instruments à vents
7
Xylophone ou Marimba ou Vibraphone
6
2 Marimbas
5
Mariachi
4
Conga
4
3 Percussions
3
2 Caisses Claires (duo)
3
Cajon
3
Marimba ou Xylophone et Piano
3
Voix Mezzo-Soprano, Orchestre
2
Orchestre Symphonique
2
Bodhran
2
Marimba, Saxophone (duo)
1
Caisse Claire, Piano
1
2 Percussions
1
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AUTRES
Formation musicale - Solfège
164
Théorie de la musique
38
Papeterie
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Piano et Orchestre
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Kirculescu (Nicolae) - Moment muzical pt pian si orchestra (Musical moment for piano and orchestra)
Piano et Orchestre
Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067…
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Guitar,Harpsichord,Organ,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.913067 Composed by Nicolae Kirculescu. Arranged by Andrei Lucian Drăgoi. 20th Century,Contemporary,Standards. 3 pages. Andrei-Lucian Dragoi #6188049. Published by Andrei-Lucian Dragoi (A0.913067). Composed for piano and orchestra by: Nicolae Kirculescu (Romanian composer) (1903-1985)
$2.00
1.83 €
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Piano et Orchestre
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Nicolae Kirculescu
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Andrei Lucian Drăgoi
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Kirculescu
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Andrei-Lucian Dragoi
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SheetMusicPlus
H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
Piano et Orchestre
Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - L…
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Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - Level 2 - Digital Download SKU: A0.981569 Composed by Wolfgang Amadeus Mozart. Arranged by Helios D'Andrea. Classical,Contemporary,Instructional. Score and parts. 12 pages. D'Andrea Helios #6735431. Published by D'Andrea Helios (A0.981569). Only variations on an original theme by Mozart.
$5.00
4.57 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Helios D'Andrea
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H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
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D'Andrea Helios
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SheetMusicPlus
Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Vi…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Viola,Violin - Level 3 - Digital Download SKU: A0.981544 Composed by Helios D'Andrea. Classical. Score and parts. 12 pages. D'Andrea Helios #6574203. Published by D'Andrea Helios (A0.981544).
$10.00
9.14 €
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Piano et Orchestre
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Helios D'Andrea
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Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
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D'Andrea Helios
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SheetMusicPlus
Tribute to Chopin (Omaggio a Chopin) for piano and orchestra
Piano et Orchestre
Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508…
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Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508 Composed by Helios D'Andrea. 20th Century,Contemporary. Score and parts. 5 pages. D'Andrea Helios #4846343. Published by D'Andrea Helios (A0.981508). Nice music composed for piano and orchestra
$15.00
13.71 €
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Piano et Orchestre
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Helios D'Andrea
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Tribute to Chopin
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D'Andrea Helios
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SheetMusicPlus
Passions (for piano and orchestra)
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057446 Composed by Jordan Grigg. 20th Century,Concert,Instructional,Standards. Full Performance. Duration 222. Jordan Grigg #3464809. Published by Jordan Grigg (A0.1057446).
$2.99
2.73 €
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Piano et Orchestre
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Jordan Grigg
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Passions
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Jordan Grigg
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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
Passions (for piano and orchestra)
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Tr…
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Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.863537 Composed by Jordan Grigg. 20th Century,Concert,Standards. Score and parts. 52 pages. Jordan Grigg #3388747. Published by Jordan Grigg (A0.863537).
$15.95
14.58 €
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Piano et Orchestre
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Jordan Grigg
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Passions
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Jordan Grigg
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SheetMusicPlus
VARIANTS (for piano and orchestra)
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1057960 Composed by Jordan Grigg. Contemporary,Standards. Full Performance. Duration 413. Jordan Grigg #3628987. Published by Jordan Grigg (A0.1057960).
$1.99
1.82 €
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Piano et Orchestre
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Jordan Grigg
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VARIANTS
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Jordan Grigg
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SheetMusicPlus
Fantasy for Piano and Orchestra
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1058105 Composed by Jordan Grigg. Concert,Contemporary,Instructional,Standards. Full Performance. Duration 376. Jordan Grigg #5360293. Published by Jordan Grigg (A0.1058105).
$2.99
2.73 €
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Piano et Orchestre
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Jordan Grigg
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Fantasy for Piano and Orchestra
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Jordan Grigg
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SheetMusicPlus
Elegy for Piano and Orchestra MP3
Piano et Orchestre
Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violi…
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Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1056809 Composed by Jordan Grigg. Concert,Contemporary,Standards. Full Performance. Duration 389. Jordan Grigg #3093137. Published by Jordan Grigg (A0.1056809).
$3.99
3.65 €
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Piano et Orchestre
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Jordan Grigg
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Elegy for Piano and Orchestra MP3
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Jordan Grigg
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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
23.95 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Santino Cara
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Mozart - Piano Concerto No.20 in D minor K 466 for Piano and Orchestra
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Santino Cara
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SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano et Orchestre
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7.07 €
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Piano et Orchestre
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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Genesis
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SheetMusicPlus
Fantasia for Piano and Orchestra
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: A0.1069115 Composed by Joseph Hull. Contemporary. Full Performance. Duration 318. Genesis #3514027. Published by Genesis (A0.1069115). This is the third movement from Fantasia for Piano and Orchestra. The full work contains four movements. .
$1.99
1.82 €
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Piano et Orchestre
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Joseph Hull
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Fantasia for Piano and Orchestra
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Genesis
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
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Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
137.14 €
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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
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
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Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
114.28 €
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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
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
91.42 €
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Piano et Orchestre
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Ennio Morricone
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Le Vent, Le Cri - Ennio Morricone
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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Piano et Orchestre
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