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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
i\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
Non classifié
19 431
Piano & claviers
Piano seul
20 308
Piano, Voix et Guitare
15 454
Piano, Voix
10 761
Piano Facile
5 756
Instruments en Do
1 913
Orgue
1 435
Piano grosses notes
971
Accompagnement Piano
613
1 Piano, 4 mains
521
Accordéon
379
2 Pianos, 4 mains
171
Piano Trio: piano, violon, violoncelle
156
Piano (partie séparée)
117
Ligne De Mélodie, Piano
73
Orgue, Piano (duo)
44
Piano Quatuor: piano, 2 violons, violoncelle
35
Piano Quintette: piano, 2 violons, alto, violoncelle
34
Piano Quatuor: piano, violon, alto, violoncelle
31
Orgue, Trompette (duo)
29
Clavecin
28
Clavier
20
Accordéon, Voix
18
2 Accordéons
12
Instrument seul et Orgue
9
1 Piano, 6 mains
7
2 Pianos, 8 mains
6
Ensemble d'Accordéons
4
Ensemble de Pianos
1
Orgue, Voix
1
2 Orgues (duo)
1
+ 25 instrumentations
Retracter
Guitares
Guitare notes et tablatures
5 303
Ligne De Mélodie, (Paroles) et Accords
5 153
Guitare
2 133
Paroles et Accords
2 103
Ukulele
1 625
Basse electrique
1 189
Piano, Guitare (duo)
159
Banjo
157
2 Guitares (duo)
143
Guitare (partie séparée)
116
Mandoline
79
Dulcimer
70
4 Guitares (Quatuor)
60
3 Guitares (trio)
27
Ensemble de guitares
25
Basse électrique (partie séparée)
24
Ukulele Baryton
18
Mandoline, Guitare (duo)
7
Guitare Pedal Steel
7
Ensemble de Ukulélés
7
Partitions De Groupes
6
Dobro
5
Guitare, Violon, Violoncelle (trio)
4
2 Dulcimers (duo)
4
2 Ukuleles
3
Guitare, Orchestre
1
Guitare Tab, Voix, Basse, Batterie
1
Mandoline, Piano (duo)
1
+ 23 instrumentations
Retracter
Voix
Chorale SATB
6 951
Chorale 3 parties
2 670
Chorale 2 parties
1 714
Chorale TTBB
1 529
Pack Instrumental pour Chorale
1 228
Chorale SSAA
921
Voix seule
657
Chorale Unison
574
Chorale
542
Voix duo, Piano
485
Voix haute
263
Voix Soprano, Piano
191
Voix duo
181
Voix Baryton, Piano
116
Voix Alto, Piano
110
Voix Tenor, Piano
99
Voix basse, Piano
52
Voix Tenor
38
Voix moyenne, Piano
38
Voix Soprano
28
Voix, Guitare
26
Voix Moyenne
25
Chorale SSAATTBB
22
Chorale SSATB
17
Voix Mezzo-Soprano, Piano
15
Chorale SSATTB
11
Chorale SSAB, Piano
6
Chorale SSAATB
5
Chorale SSATBB
5
Chorale SSAB a cappella
5
Voix basse
4
Voix haute, Piano
4
Soli, choeur mixte et accompagnement
4
Chorale SATBB
3
Chorale, Orgue
3
Chorale SAATB A Cappella
2
+ 31 instrumentations
Retracter
Vents
Flûte traversière
1 893
Clarinette
1 582
Saxophone (partie séparée)
1 218
Flûte traversière et Piano
1 186
Saxophone
1 134
Saxophone Alto
1 134
Quatuor de Saxophones: 4 saxophones
1 062
Saxophone Tenor
1 031
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
900
Clarinette et Piano
893
Flûte, Hautbois, Clarinette, Basson
806
Hautbois, Piano (duo)
767
Saxophone Alto et Piano
712
2 Saxophones (duo)
622
2 Flûtes traversières (duo)
552
Saxophone Tenor et Piano
542
Quatuor de Clarinettes: 4 clarinettes
541
Quintette de Saxophone: 5 saxophones
478
2 Clarinettes (duo)
414
Hautbois (partie séparée)
374
Clarinette (partie séparée)
356
Quatuor de Flûtes : 4 flûtes
288
Ensemble de Clarinettes
255
Saxophone Soprano et Piano
248
Flute (partie séparée)
233
Ensemble de saxophones
221
Flûte à Bec
193
Flûte et Guitare
192
Flûte, Clarinette (duo)
175
Ensemble de Flûtes
164
2 Hautbois (duo)
148
3 Clarinettes (trio)
146
Saxophone Baryton, Piano
140
3 Saxophones (trio)
134
Hautbois
134
Trio de Flûtes: 3 flûtes
125
Quintette de Clarinettes: 5 clarinettes
105
Saxophone Soprano
91
Hautbois, Basson (duo)
87
Instruments en Mib
84
Flûte, Violon
80
2 Flûte à bec (duo)
79
Quatuor de Flûtes à bec
76
Cor anglais, Piano
72
Harmonica
67
Clarinette, Guitare (duo)
67
Quintette de Flûte : 5 flûtes
59
Hautbois, Clarinette (duo)
57
Flûte, Violoncelle
57
Flûte, Hautbois, Clarinette (trio)
57
Clarinette, Violon (duo)
55
Flûte à bec Soprano
52
Flûte, Violon, Piano
47
Ocarina
45
Clarinette, Basson (duo)
43
Saxophone, Clarinette (duo)
42
Clarinette Basse, Piano
37
Flûte, Hautbois (duo)
33
Flûte, Clarinette et Basson
31
Clarinette, Violoncelle (duo)
31
Flûte, Alto (duo)
29
Flûte à bec Alto
29
Flûte, Clarinette, Piano (trio)
28
Clarinette et Alto
28
Saxophone Baryton
27
Cor Anglais
27
Flûte, Hautbois, Basson
26
Hautbois, Clarinette, Basson (trio d'anches)
26
Flûte, Trombone (duo)
25
Flûte, Violoncelle, Piano (trio)
25
Hautbois, Flûte
24
Flûte, Violon et Violoncelle
24
Flûte, Trompette (duo)
23
2 Saxophones, Piano
23
Saxophone et Guitare
22
Cor anglais, Guitare (duo)
21
2 Flûtes traversières, Piano
20
2 Clarinettes, Piano
19
Clarinette, Trompette (duo)
18
Clarinette, Harpe (duo)
17
Hautbois, Guitare (duo)
17
Flûte, Clarinette, Cor, Basson (Quartet)
16
Hautbois, Violoncelle
16
Piccolo
15
Clarinette Basse
14
2 Cors Anglais Et Pianoforte
14
Flûte à bec Tenor
13
5 Flûtes à bec
13
Flûte, Basson et Piano
13
Flûte, Saxophone (duo)
13
Clarinette, Trombone (duo)
13
Ensemble De Flûte à bec
12
Hautbois, violon (duo)
12
3 Flûtes à bec (trio)
11
Saxophone et Piano
10
Flute, harpe et violon
10
Saxophone et Orgue
10
Saxophone, Violon (duo)
10
Ensemble à vent
9
Clarinette, Violoncelle, Piano (trio)
9
Hautbois, Trompette (duo)
8
Quintette de Clarinette: Clarinette, Quatuor à Cordes
8
Flûte irlandaise
8
Piccolo, Piano
8
Flûte à bec Soprano, Piano
8
Flûte à bec Alto, Piano
8
Flûte et Trio à cordes
8
Flûte, Clarinette, Violon (trio)
7
Flûte, Hautbois, Violon
7
Flûte, Harpe et Violoncelle
7
Flûte, Hautbois, Piano (trio)
6
Flûte, Alto et Piano
6
Flûte traversière, Orgue (duo)
6
3 Hautbois
6
Clarinette, Basson, Piano (trio)
5
Hautbois, Basson et Piano
5
2 Hautbois, Piano
5
Cornemuse
4
Flûte à Bec, Piano
4
Hautbois et alto (duo)
4
Flute, Cor (duo)
3
Hautbois, Harpe
3
Flûte, trombone et piano
3
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
3
Clarinette, Orgue
3
Flûte, Violoncelle, Guitare
3
2 Clarinettes, Basson
2
Saxophone et violoncelle
2
Clarinette, Orchestre
2
Saxophone, Basson (duo)
2
Clarinette, Tuba
2
Hautbois, trombone (duo)
2
Flûte, Alto et Violoncelle
2
Flûte à bec Alto, Basse continue
2
4 Hautbois
2
2 Flûtes à bec, Piano
2
Saxophone et Harpe
2
Hautbois, Clarinette et Piano (Trio)
2
Flûte, Violon, Guitare
2
Clarinette, trompette et piano
1
Clarinette, Alto et Piano (trio)
1
Clarinette, Contrebasse (duo)
1
Flûte traversière, Orchestre
1
Hautbois, Violon, Piano
1
Flûte, alto et harpe
1
Flûte et Quatuor à Cordes
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
2 Flûtes traversières, Harpe
1
Hautbois et Orchestre
1
Flûte à bec, Harpe
1
Flûte, Violon, Violoncelle et Piano
1
Flûte, Tuba (duo)
1
Flûte à bec, Guitare (duo)
1
Flûte de Pan
1
Harmonica, Piano
1
Cor anglais et Harpe (duo)
1
+ 151 instrumentations
Retracter
Cuivres
Trompette
1 551
Trombone
1 212
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1 059
Trompette (partie séparée)
869
Cor
732
Trombone (partie séparée)
689
Trompette, Piano
650
Trombone et Piano
589
Quatuor de Cuivres : 2 trompettes, trombone, tuba
547
Cor et Piano
365
Quatuor de Cuivres
276
2 Trompettes (duo)
226
2 Trombones (duo)
221
Tuba
215
Cor (partie séparée)
178
Quatuor de Cuivres: 2 trompettes, Cor, trombone
155
Tuba et Piano
142
Bass Clef Instruments
139
2 Cors (duo)
134
Tuba (partie séparée)
125
Trompette, Trombone (duo)
116
Euphonium
104
Ensemble de Trompettes
100
Quatuor de cuivres: 4 trombones
96
Instruments en Sib
89
Euphonium, Piano (duo)
81
Ensemble de Trombones
78
Cor anglais, Piano
72
Quatuor de cuivres: 4 cors
57
Trio de Cuivres
55
Trompette, Saxophone (duo)
41
2 Euphoniums et 2 Tubas
38
2 Tubas (duo)
37
Trompette, Cor (duo)
31
3 Trombones (trio)
29
Trombone, Tuba (duo)
27
Cor Anglais
27
Ensemble de Cors
26
2 Euphoniums (duo)
25
Cor anglais, Guitare (duo)
21
Trompette, violon (duo)
20
3 Trompettes (trio)
20
Quatuor de cuivres: 4 trompettes
18
Cor, Tuba (duo)
14
2 Cors Anglais Et Pianoforte
14
Instruments en Fa
13
Euphonium, Tuba (duo)
13
4 Tubas
12
Trompette, Tuba (duo)
12
Tuba et Orgue
11
2 Trompettes, Clavier (piano ou orgue)
11
Cor, Violoncelle (duo)
10
Tuba ou Euphonium ou Saxhorn
8
Trombone, violoncelle (duo)
8
Clarinette, Cor (duo)
7
Trombone basse et Piano
6
Trompette, Basson (duo)
6
Trombone basse
6
Trompette, Violoncelle (duo)
5
Trombone, Orgue
5
3 Cors (trio)
5
Trombone, Cor (duo)
5
Cornet A Pistons
5
2 Cors, Piano
4
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Trombone, Violon (duo)
3
Cor et Basson (duo)
3
Trompette, Trombone, Piano
3
2 Trombones, Piano
2
Trompette, Violoncelle et Piano
2
Cor et Orgue
2
Cor, Trompette, Trombone (trio)
2
Trombone, Alto (duo)
2
Trompette, Euphonium (duo)
2
Ensemble de Tubas
1
4 Euphoniums
1
Trombone et orchestre
1
Cor et Harpe
1
Trompette, Harpe
1
Cor anglais et Harpe (duo)
1
+ 76 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
3 931
Violon
2 205
Violon et Piano
1 494
Violoncelle
1 383
Alto seul
1 014
Violoncelle, Piano
932
Harpe
817
Alto, Piano
805
Violon, Violoncelle (duo)
783
Trio à Cordes: violon, alto, violoncelle
690
Violon (partie séparée)
629
2 Violons (duo)
584
Quintette à cordes: 2 violons, alto, violoncelle, basse
386
2 Violoncelles (duo)
356
2 Harpes (duo)
337
Violon, Alto (duo)
301
2 Altos (duo)
252
Alto (partie séparée)
247
Contrebasse (partie séparée)
195
Contre Basse
189
Trio à Cordes: 2 violons, violoncelle
178
Alto, Violoncelle (duo)
137
Contrebasse, Piano (duo)
134
4 Violoncelles
93
Violon, Guitare (duo)
87
Violoncelle (partie séparée)
82
Trio à cordes: 3 violins
79
Piano Trio: Violon, Alto, Piano
73
Violoncelle , Guitare (duo)
59
2 Contrebasses (duo)
59
Quatuor à cordes: 4 violons
58
Trio à cordes
45
Harpe, Flûte (duo)
41
Trio à Cordes: 3 violoncelles
41
Violoncelle, Contrebasse (duo)
38
Trio à Cordes: 2 violons, alto
38
Harpe, Violon (duo)
37
Trio à cordes: 3 altos
31
Ensemble de Violons
30
Ensemble d'Altos
28
4 Contrebasses
27
Alto, Guitare (duo)
27
Quatuor à cordes : 4 altos
26
2 Violons, Piano
23
Harpe, Violoncelle (duo)
22
Alto et Harpe
20
Quintette à cordes: 2 violons, 2 altos, violoncelle
20
Harpe, Voix
18
Violon, Basson (duo)
14
Alto et Basson
10
Flûte, Contrebasse (duo)
8
Quintette à cordes : 2 violons, alto et 2 violoncelles
8
Violoncelle, Orgue
7
Harpe, Violon, Violoncelle
6
2 Violoncelles, Piano
6
Violoncelle, Orchestre
6
Ensemble de Violoncelles
5
Harpe et Piano
4
2 Altos, Piano
3
Harpe (partie séparée)
3
Violon, Tuba (duo)
2
Violon, Clarinette, Piano (trio)
1
3 Contrebasses
1
2 Violons et Basse continue
1
3 Harpes
1
Alto, Orgue
1
Violon, Violoncelle, Clarinette
1
Harpe, Trombone (duo)
1
Harpe et mandoline
1
+ 64 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
3 200
Orchestre
1 876
Orchestre à Cordes
1 451
Ensemble Jazz
1 298
Batterie
852
Fanfare
826
Ensemble de cuivres
681
Jazz combo
565
Orchestre de chambre
532
Cloches
522
Percussion (partie séparée)
225
Ensemble de Percussions
174
Batterie (partie séparée)
148
Percussion
106
Marimba
77
Timbales (partie séparée)
39
Xylophone
34
Vibraphone
26
Timbales
21
Xylophone, Piano
19
Caisse Claire
16
Quintette à Vent
15
Big band
11
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
11
Instrumentation Flexible
8
Piano et Orchestre
6
Quintette de Cuivres: autres combinaisons
5
Quatuor à Vent : 4 instruments à vents
5
3 Marimbas
5
Vibraphone (partie séparée)
4
2 Xylophones
4
Xylophone ou Marimba ou Vibraphone
3
Xylophone (partie séparée)
2
Ensemble d'École
2
2 Marimbas
1
Orchestre, Violon
1
Conga
1
Marimba, Piano (duo)
1
Voix et Orchestre
1
+ 34 instrumentations
Retracter
Autres
Formation musicale - Solfège
2
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
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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…
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Piano et Orchestre
Partitions à imprimer
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1
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 .
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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
Piano Concerto No. 19 F major
Piano et Orchestre
Piano and orchestra - Digital Download SKU: S9.Q4521 Coronation I / Cadenzas by …
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Piano and orchestra - Digital Download SKU: S9.Q4521 Coronation I / Cadenzas by the composer. Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst eulenburg - orchestra - score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 30 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4521. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4521). Key: F major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
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12.84 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Piano Concerto No. 19 F major
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Ernst Eulenburg & Co. GmbH - Digital
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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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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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Peace I Leave With You
Piano et Orchestre
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contempo…
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Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian, Easter. Early Intermediate. Sheet Music Single. Published by Exultet Music
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3.66 €
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Piano et Orchestre
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Stephen DeCesare
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Peace I Leave With You
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Exultet Music
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SheetMusicPlus
I Saw Water Flowing
Piano et Orchestre
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contempo…
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Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian, Easter. Advanced Intermediate. Octavo. Published by Exultet Music
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3.66 €
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Piano et Orchestre
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Stephen DeCesare
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I Saw Water Flowing
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Exultet Music
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SheetMusicPlus
How Can I Keep From Singing?
Piano et Orchestre
By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Chri…
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By Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian, Pop, Gospel. Early Intermediate. Sheet Music Single. Published by Exultet Music
$3.99
3.66 €
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Piano et Orchestre
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Stephen DeCesare
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How Can I Keep From Singing?
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Exultet Music
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SheetMusicPlus
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