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PARTITIONS GRATUITES
Instruments
ACCORDEON
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AUTRES INST…
BALALAIKA
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BUGLE
CHANT - CHO…
CHARANGO
CITHARE
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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
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5
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
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FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
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MEDIEVAL - RENAISSAN…
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METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
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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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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
12249
PIANO & CLAVIERS
Piano, Voix
18220
Piano seul
7209
Piano, Voix et Guitare
1902
Piano Facile
1791
Instruments en Do
707
Orgue
607
Accompagnement Piano
203
1 Piano, 4 mains
170
Piano Trio: piano, violon, violoncelle
133
2 Pianos, 4 mains
87
Piano grosses notes
48
Accordéon
43
Piano Quatuor: piano, 2 violons, violoncelle
38
Piano Quatuor: piano, violon, alto, violoncelle
37
Piano (partie séparée)
37
Piano Quintette: piano, 2 violons, alto, violoncelle
32
Orgue, Trompette (duo)
22
Clavecin
20
Orgue, Piano (duo)
12
2 Pianos, 8 mains
4
1 Piano, 6 mains
3
2 Accordéons
2
Clavier
1
Orgue et Orchestre
1
Accordéon, Piano
1
Ligne De Mélodie, Piano
1
Accordéon, Voix
1
Instrument seul et Orgue
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
846
Guitare
770
Ligne De Mélodie, (Paroles) et Accords
569
Ukulele
326
Mandoline
309
Basse electrique
151
Paroles et Accords
147
2 Guitares (duo)
130
Guitare (partie séparée)
45
4 Guitares (Quatuor)
37
Piano, Guitare (duo)
31
Dulcimer
27
Banjo
20
3 Guitares (trio)
14
Guitare, Violon, Violoncelle (trio)
11
Basse électrique (partie séparée)
11
Ensemble de guitares
10
Mandoline, Guitare (duo)
7
2 Mandolines (duo)
3
2 Ukuleles
2
Guitare, Orchestre
2
Mandoline, Piano (duo)
1
Partitions De Groupes
1
Orchestre à Plectres
1
Ensemble de Ukulélés
1
Instrumentations suivantes
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VOIX
Chorale SATB
3638
Chorale 3 parties
1063
Chorale 2 parties
747
Chorale TTBB
591
Chorale SSAA
346
Chorale Unison
319
Voix duo, Piano
251
Voix duo
152
Voix seule
135
Voix Soprano, Piano
92
Voix haute
54
Voix Alto, Piano
48
Chorale
46
Voix Tenor
42
Voix Tenor, Piano
34
Voix moyenne, Piano
31
Voix Soprano
29
Chorale SSAATTBB
15
Chorale SSATB
11
Voix basse, Piano
10
Voix basse
10
Voix, Guitare
9
Chorale SSATTB
8
Voix Baryton, Piano
7
Voix Mezzo-Soprano, Piano
6
Chorale SSAATB
4
Soli, choeur mixte et accompagnement
2
Chorale SSAB a cappella
1
Chorale SSAB, Piano
1
Voix haute, Piano
1
Chorale SSATBB
1
Chorale SAATB A Cappella
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
1552
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1038
Quatuor de Saxophones: 4 saxophones
1011
Clarinette et Piano
945
Flûte, Hautbois, Clarinette, Basson
808
Saxophone (partie séparée)
807
2 Saxophones (duo)
758
Flûte traversière
697
Saxophone Alto et Piano
696
Quatuor de Clarinettes: 4 clarinettes
696
Saxophone Alto
630
Hautbois, Piano (duo)
572
Clarinette
499
Saxophone Tenor et Piano
487
Saxophone Tenor
475
Saxophone Soprano et Piano
442
Quintette de Saxophone: 5 saxophones
391
2 Flûtes traversières (duo)
383
2 Clarinettes (duo)
368
Flûte à bec Soprano
321
Ensemble de Clarinettes
298
Quatuor de Flûtes : 4 flûtes
297
Harmonica
255
Saxophone, Clarinette (duo)
254
Cor anglais, Piano
224
Hautbois (partie séparée)
216
Flûte à bec Alto
209
Ensemble de saxophones
200
Saxophone Baryton, Piano
198
Flûte, Clarinette (duo)
173
Clarinette, Violon (duo)
170
Ensemble de Flûtes
162
Clarinette (partie séparée)
146
Clarinette, Trompette (duo)
141
2 Hautbois (duo)
137
Quintette de Clarinettes: 5 clarinettes
133
3 Clarinettes (trio)
131
Flûte et Guitare
128
3 Saxophones (trio)
126
Hautbois, Basson (duo)
112
Flûte, Violon
101
Hautbois, Clarinette (duo)
99
Clarinette, Guitare (duo)
98
Flûte, Saxophone (duo)
87
Clarinette et Alto
87
Clarinette Basse, Piano
85
2 Flûte à bec (duo)
84
Hautbois, Flûte
84
Quatuor de Flûtes à bec
75
Trio de Flûtes: 3 flûtes
72
Flûte, Trompette (duo)
66
Flûte, Alto (duo)
63
Quintette de Flûte : 5 flûtes
62
Flûte à bec Alto, Piano
62
Saxophone Soprano
61
Flute (partie séparée)
58
Saxophone
50
Clarinette, Basson (duo)
43
Ensemble De Flûte à bec
37
2 Flûtes traversières, Piano
35
Flûte à Bec
34
Flûte à bec Soprano, Piano
33
Cor Anglais
29
Flûte, Clarinette et Basson
28
Hautbois, Clarinette, Basson (trio d'anches)
27
Flûte, Hautbois, Clarinette (trio)
26
5 Flûtes à bec
25
Flûte, Violoncelle
25
Hautbois
24
Flûte, Violoncelle, Piano (trio)
23
Flûte à bec Tenor
22
Clarinette, Violoncelle (duo)
21
Flûte, Clarinette, Cor, Basson (Quartet)
18
3 Flûtes à bec (trio)
18
Saxophone et Guitare
17
2 Clarinettes, Piano
17
Flûte, Hautbois, Basson
16
Clarinette, Harpe (duo)
16
Piccolo
15
Flûte, Hautbois (duo)
15
Flûte, Clarinette, Piano (trio)
14
Hautbois, Guitare (duo)
13
Piccolo, Piano
13
2 Saxophones, Piano
13
Saxophone et Harpe
12
Flûte, Violon et Violoncelle
12
Flûte, Violon, Piano
11
Flûte à bec, Guitare (duo)
11
Clarinette, Violoncelle, Piano (trio)
10
Cor anglais, Guitare (duo)
10
Hautbois, Harpe
10
2 Clarinettes, Basson
10
Flûte, Basson et Piano
9
Saxophone Baryton
8
Flûte à Bec, Piano
7
Hautbois, Violoncelle
7
Flûte traversière, Orgue (duo)
7
Clarinette, Trombone (duo)
7
Instruments en Mib
6
Flûte, Violoncelle, Guitare
5
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
5
Flûte, Violon, Violoncelle et Piano
5
Clarinette Basse
5
2 Cors Anglais Et Pianoforte
5
Ocarina
5
Flûte traversière, Basse continue
4
Ensemble à vent
4
Quintette de Clarinette: Clarinette, Quatuor à Cordes
4
Flute, harpe et violon
4
3 Hautbois
4
Flûte, Trombone (duo)
4
Hautbois, Violin, Alto et Violoncelle (Quatuor)
4
4 Hautbois
4
Flûte, Harpe et Violoncelle
4
Flûte irlandaise
3
Saxophone et Orgue
3
Flûte, alto et harpe
3
Clarinette, Alto et Piano (trio)
3
Flûte et Trio à cordes
2
Flûte, Hautbois, Piano (trio)
2
Clarinette, Orgue
2
2 Hautbois, Piano
2
Flûte, Clarinette, Violon (trio)
2
Flûte à bec Alto, Basse continue
2
Hautbois, violon (duo)
1
Saxophone et violoncelle
1
Flûte, trombone et piano
1
Flûte à bec Soprano, Basse continue
1
Cor anglais et Harpe (duo)
1
Saxophone, Basson (duo)
1
Hautbois, Violoncelle et Piano
1
Hautbois, trombone (duo)
1
2 Hautbois, 2 Cors et 2 Bassons
1
2 Flûtes à bec, Guitare
1
Ensemble de Hautbois
1
Cornemuse
1
2 Flûtes traversières, Harpe
1
Flûte, Alto et Piano
1
Clarinette, Orchestre
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1122
Quatuor de Cuivres : 2 trompettes, trombone, tuba
719
Trompette
668
Trombone et Piano
654
Trompette, Piano
600
Trombone
416
Trombone (partie séparée)
382
Trompette (partie séparée)
376
Cor et Piano
349
Quatuor de Cuivres
313
Cor anglais, Piano
224
Quatuor de Cuivres: 2 trompettes, Cor, trombone
203
Cor
199
Euphonium, Piano (duo)
195
2 Trompettes (duo)
183
2 Trombones (duo)
180
Trompette, Saxophone (duo)
176
Tuba et Piano
171
Trompette, Trombone (duo)
137
Quatuor de cuivres: 4 trombones
115
Cor (partie séparée)
109
Ensemble de Trombones
100
Tuba
98
2 Cors (duo)
92
Quatuor de cuivres: 4 cors
73
2 Euphoniums et 2 Tubas
60
Ensemble de Trompettes
60
Tuba (partie séparée)
57
Quatuor de cuivres: 4 trompettes
38
Trompette, Cor (duo)
37
Euphonium
35
4 Tubas
31
2 Tubas (duo)
30
Ensemble de Cors
30
Cor Anglais
29
3 Trombones (trio)
19
Trio de Cuivres
17
Tuba et Orgue
13
Trombone basse et Piano
12
Cor et Harpe
12
2 Trompettes, Clavier (piano ou orgue)
11
Trombone, Cor (duo)
11
3 Tubas (trio)
10
Cor anglais, Guitare (duo)
10
Trombone basse
9
Bass Clef Instruments
9
3 Trompettes (trio)
9
3 Cors (trio)
8
Quatuor de cuivres: 2 trompettes, 2 trombones
8
Instruments en Sib
8
Euphonium, Tuba (duo)
7
Trompette, Harpe
7
Trombone, Orgue
6
Cor et Basson (duo)
6
Cor et Orgue
5
Trombone et orchestre
5
2 Euphoniums (duo)
5
2 Cors Anglais Et Pianoforte
5
Cor, Tuba (duo)
4
Trombone, Tuba (duo)
4
Cor, Violoncelle (duo)
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
2 Cors, Piano
3
Trompette, Trombone, Piano
3
Instruments en Fa
3
Trompette, violon (duo)
3
4 Euphoniums
2
Clarinette, Cor (duo)
2
Ensemble de Tubas
2
Trompette, Basson (duo)
2
Trompette, Violoncelle (duo)
2
Cornet et orchestre
1
Cor anglais et Harpe (duo)
1
Trompette, Tuba (duo)
1
Trompette, Violoncelle et Piano
1
Trompette et Guitare
1
Trombone, Alto (duo)
1
Trombone, Violon (duo)
1
Trompette, Euphonium (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2301
Violon et Piano
1746
Violoncelle, Piano
1313
Harpe
1232
Violon
883
Alto, Piano
833
Violoncelle
695
Violon, Violoncelle (duo)
441
Alto seul
333
Trio à Cordes: violon, alto, violoncelle
332
2 Violons (duo)
313
2 Violoncelles (duo)
253
Violon, Alto (duo)
233
2 Harpes (duo)
218
Trio à Cordes: 2 violons, violoncelle
215
2 Altos (duo)
211
Quintette à cordes: 2 violons, alto, violoncelle, basse
159
Harpe, Flûte (duo)
144
Contrebasse, Piano (duo)
139
Alto (partie séparée)
137
Violon, Guitare (duo)
121
Violon (partie séparée)
90
Contre Basse
89
Contrebasse (partie séparée)
77
4 Violoncelles
70
Piano Trio: Violon, Alto, Piano
65
Alto, Guitare (duo)
57
Violoncelle , Guitare (duo)
54
Alto, Violoncelle (duo)
51
Trio à cordes: 3 violins
43
Trio à Cordes: 3 violoncelles
41
Harpe, Violon (duo)
28
Quatuor à cordes: 4 violons
28
Quatuor à cordes : 4 altos
26
Violoncelle (partie séparée)
24
Trio à Cordes: 2 violons, alto
24
Ensemble de Violons
20
Ensemble d'Altos
19
Quintette à cordes: 2 violons, 2 altos, violoncelle
17
Trio à cordes: 3 altos
17
Violoncelle, Contrebasse (duo)
14
2 Contrebasses (duo)
13
Harpe, Violoncelle (duo)
12
Alto et Harpe
12
2 Violons, Piano
11
Violoncelle, Orgue
7
Violon, Orgue
7
Harpe, Trombone (duo)
7
4 Contrebasses
7
Violoncelle, Orchestre
6
Harpe, Voix
6
Ensemble de Violoncelles
5
Violon, Basson (duo)
4
Violoncelle, Basse continue
4
3 Harpes
4
Flûte, Contrebasse (duo)
3
Harpe, Quatuor à cordes
3
Harpe et mandoline
3
2 Violoncelles, Piano
3
Alto et Basson
3
Alto, Orgue
3
Violon, Basse continue
2
Harpe, Violon, Violoncelle
2
Harpe et Piano
2
Violon, Clarinette, Piano (trio)
2
Harpe (partie séparée)
1
Trio à cordes
1
Violon, Tuba (duo)
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
4186
Orchestre
1006
Orchestre à Cordes
967
Ensemble de cuivres
663
Ensemble Jazz
528
Orchestre de chambre
366
Jazz combo
297
Cloches
210
Fanfare
145
Batterie
117
Percussion (partie séparée)
105
Ensemble de Percussions
93
Batterie (partie séparée)
78
Vibraphone
29
Marimba
25
Percussion
15
Timbales (partie séparée)
13
Xylophone
6
Xylophone, Piano
6
Piano et Orchestre
5
Orchestre, Violon
5
Timbales
4
Quintette de Cuivres: autres combinaisons
4
Caisse Claire
2
Vibraphone et Marimba
2
2 Xylophones
1
Bongos
1
Vibraphone (partie séparée)
1
Quintette à Vent
1
2 Marimbas
1
Marimba et Orgue
1
Xylophone ou Marimba ou Vibraphone
1
Voix Mezzo-Soprano, Orchestre
1
Big band
1
Quatuor à Vent : 4 instruments à vents
1
Ensemble d'École
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
137
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Piano et Orchestre
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Multicolored Blues (strings)
Piano et Orchestre
By Bradley Sowash. For Piano, Orchestra. Blues, Instructional, Jazz. Intermediate. Set of …
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By Bradley Sowash. For Piano, Orchestra. Blues, Instructional, Jazz. Intermediate. Set of Parts, Piano Reduction, Score. Bradley Sowash Music #MULTICOLORED. Published by Bradley Sowash Music
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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. .
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Spanish Dance for Piano and Orchestra
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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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Ballade for Piano and Orchestra No.1
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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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