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18
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10
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7
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1
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181
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29
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26
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20
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19
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15
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14
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12
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11
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6
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4
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4
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3
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3
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3
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2
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Hautbois
2
Clarinette Basse, Piano
2
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2
Quintette de Saxophone: 5 saxophones
2
Flûte, Alto (duo)
1
Flûte, Trompette (duo)
1
Hautbois, Flûte
1
Flûte à bec Alto
1
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1
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1
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1
Clarinette, Violoncelle, Piano (trio)
1
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1
Clarinette, Basson, Piano (trio)
1
Flûte, Saxophone (duo)
1
Hautbois, Clarinette (duo)
1
Ensemble de Flûtes
1
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1
Cor anglais, Piano
1
Clarinette, Trompette (duo)
1
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CUIVRES
2 Euphoniums et 2 Tubas
203
4 Tubas
69
Quatuor de Cuivres : 2 trompettes, trombone, tuba
63
Trompette
56
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56
Trombone
47
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22
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22
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18
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Cor
12
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7
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5
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2 Trompettes (duo)
4
Trompette, Piano
3
Trio de Cuivres
3
3 Trompettes (trio)
3
Trompette, Saxophone (duo)
2
Tuba
2
Euphonium, Piano (duo)
2
Euphonium
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Ensemble de Tubas
1
2 Tubas (duo)
1
3 Cors (trio)
1
Cor anglais, Piano
1
2 Euphoniums (duo)
1
Quatuor de cuivres: 4 trombones
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Trompette, Trombone (duo)
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
176
Violon
89
Violoncelle
41
Alto seul
30
Violon et Piano
29
Violoncelle, Piano
21
Harpe
19
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19
Alto, Piano
16
Trio à Cordes: violon, alto, violoncelle
9
Violon (partie séparée)
9
Contrebasse (partie séparée)
5
Violon, Alto (duo)
4
Alto (partie séparée)
4
Contre Basse
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
2 Violoncelles (duo)
3
Violoncelle (partie séparée)
3
2 Altos (duo)
2
2 Violons (duo)
2
Harpe, Flûte (duo)
1
2 Contrebasses (duo)
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Piano Trio: Violon, Alto, Piano
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
162
Fanfare
105
Ensemble de cuivres
85
Orchestre
50
Batterie
48
Orchestre à Cordes
47
Ensemble Jazz
39
Vibraphone
25
Orchestre de chambre
14
Jazz combo
13
Marimba
11
Batterie (partie séparée)
11
Percussion (partie séparée)
6
Cloches
5
Ensemble de Percussions
2
Xylophone
2
Timbales (partie séparée)
2
Piano et Orchestre
1
Orchestre, Violon
1
Vibraphone (partie séparée)
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Big band
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AUTRES
Papeterie
15
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O Mille Volte for 2 antiphonal tuba quartets
Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.759022 Composed …
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Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.759022 Composed by Luca Marenzio. Arranged by Tim Olt. Renaissance. Score and parts. 15 pages. Olt Music #3517391. Published by Olt Music (A0.759022). A rather obscure but tasteful antiphonal work arranged for 2 tuba quartets. Everyone gets a workout.
$10.00
9.14 €
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Luca Marenzio
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Tim Olt
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Everyone gets a workout
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O Mille Volte for 2 antiphonal tuba quartets
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Olt Music
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SheetMusicPlus
The Sound Of Music
Ensemble de cuivres
Brass Ensemble - Level 4 - Digital Download SKU: A0.759294 Composed by Richard Rodg…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.759294 Composed by Richard Rodgers. Arranged by Tim Olt. Contemporary. Score and parts. 86 pages. Olt Music #6056063. Published by Olt Music (A0.759294). This musical is one of the most enduring, and the music is universally known.
$30.00
27.43 €
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Ensemble de cuivres
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Richard Rodgers
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Tim Olt
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The Sound Of Music
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Olt Music
#
SheetMusicPlus
Contemporary Anthology of Solo Guitar Music
Guitare
Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the…
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Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the Right Hand. Composed by Charles Postlewate. Contemporary. Classic. E-book. 158 pages. Mel Bay Publications - Digital Sheet Music #21290EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609746599.<br> <br> This is the first compilation of guitar music specifically composed for right-hand technique that includes the little finger. The 57 compositions include original pieces in the Easy-Intermediate to Intermediate -Advanced levels by renowned guitarist/composers from Europe, North America, South America and the Caribbean. Music by Ernesto Cordero, Carlos Dorado, Jim Ferguson, David Flynn, Gerald Garcia, John Hall, Ricardo Iznaola, James Lentini, John Oliver, Charles Postlewate, Mirko Schrader, Burkhard Buck Wolters and Luis Zea show the advantages of a five-finger technique in the playing of scales, chords, arpeggios, tremolos and harmonics. They also show the advantages of using the little finger for speed, accuracy, strength and balance. All of these compositions are edited and fingered by Postlewate, pioneer in the use of a five-finger technique. This book is a companion to Anthology of Nineteenth Century Guitar Studies for Five Fingers of the Right Hand (MB21153), compiled and fingered by Leonhard Beck and edited by Charles Postlewate. Standard notation only. In English and Spanish.ISBN 9781609746599.<br> <br> This is the first compilation of guitar music specifically composed for right-hand technique that includes the little finger. The 57 compositions include original pieces in the Easy-Intermediate to Intermediate -Advanced levels by renowned guitarist/composers from Europe, North America, South America and the Caribbean. Music by Ernesto Cordero, Carlos Dorado, Jim Ferguson, David Flynn, Gerald Garcia, John Hall, Ricardo Iznaola, James Lentini, John Oliver, Charles Postlewate, Mirko Schrader, Burkhard Buck Wolters and Luis Zea show the advantages of a five-finger technique in the playing of scales, chords, arpeggios, tremolos and harmonics. They also show the advantages of using the little finger for speed, accuracy, strength and balance. All of these compositions are edited and fingered by Postlewate, pioneer in the use of a five-finger technique. This book is a companion to Anthology of Nineteenth Century Guitar Studies for Five Fingers of the Right Hand (MB21153), compiled and fingered by Leonhard Beck and edited by Charles Postlewate. Standard notation only. In English and Spanish.
$22.99
21.02 €
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Guitare
#
Charles Postlewate
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Contemporary Anthology of Solo Guitar Music
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Flausino Vale: 28 preludes for solo violin (28 prelúdios para violino só): complete scores edited by Dr Zoltan Paulinyi in English and Portuguese (partituras editadas integralmente, em inglês e português).
Violon et Piano
Composed by Flausino Vale (and Zoltan Paulinyi). 20th Century, Romantic Period, Meth…
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Composed by Flausino Vale (and Zoltan Paulinyi). 20th Century, Romantic Period, Method, South American, Recital. Set of Parts, Solo Part. 80 pages. Published by Zoltan Paulinyi
Flausino Vale (Barbacena, 1894; Belo Horizonte, 1954), known as the "Brazilian Paganini" by Villa-Lobos, wrote a set of characteristic and concertante preludes for solo violin. These short pieces show the Brazilian musical landscape and explore important violin techniques rarely shown on a basic level. This book presents a bigger set of scores including missing pieces in previous catalogues and alternate versions for 3 preludes, which the composer intended to publish. There is a suggestion for studying the preludes in a progressive order. This edition aims to print original bowings, fingerings and instructions which retain precious teachings of this remarkable teacher. Editor’s suggestions and explanations are written in Portuguese and English. As a homage to Flausino Vale, there are two Flausinian preludes composed by Dr Zoltan Paulinyi for violin, along with their transcriptions for viola.<br> <br> =====<br> <br> Em Português. Flausino Vale (Barbacena, 1894; Belo Horizonte, 1954), chamado de "Paganini Brasileiro" por Villa-Lobos, escreveu um conjunto de prelúdios característicos e concertantes para violino só, valiosos pela exuberância do estilo musical brasileiro e pela exploração de importantes técnicas violinísticas raramente encontradas no ensino fundamental.Esta edição reúne um conjunto ampliado de partituras com obras ausentes em catalogações anteriores e versões alternativas para 3 prelúdios, que o próprio compositor desejava publicar. Este livro traz uma sugestão de ordem progressiva aos estudos desta coleção. Preservam-se arcadas, dedilhados e instruções originais visando guardar preciosos ensinamentos deste notável professor. Consolidações e sugestões do editor estão anotadas em português e inglês.Como homenagem a Flausino Vale, adicionam-se dois prelúdios flausinianos de Dr. Zoltan Paulinyi para violino, com respectivas transcrições para viola.Flausino Vale (Barbacena, 1894; Belo Horizonte, 1954), known as the "Brazilian Paganini" by Villa-Lobos, wrote a set of characteristic and concertante preludes for solo violin. These short pieces show the Brazilian musical landscape and explore important violin techniques rarely shown on a basic level. This book presents a bigger set of scores including missing pieces in previous catalogues and alternate versions for 3 preludes, which the composer intended to publish. There is a suggestion for studying the preludes in a progressive order. This edition aims to print original bowings, fingerings and instructions which retain precious teachings of this remarkable teacher. Editor’s suggestions and explanations are written in Portuguese and English. As a homage to Flausino Vale, there are two Flausinian preludes composed by Dr Zoltan Paulinyi for violin, along with their transcriptions for viola.<br> <br> =====<br> <br> Em Português. Flausino Vale (Barbacena, 1894; Belo Horizonte, 1954), chamado de "Paganini Brasileiro" por Villa-Lobos, escreveu um conjunto de prelúdios característicos e concertantes para violino só, valiosos pela exuberância do estilo musical brasileiro e pela exploração de importantes técnicas violinísticas raramente encontradas no ensino fundamental.Esta edição reúne um conjunto ampliado de partituras com obras ausentes em catalogações anteriores e versões alternativas para 3 prelúdios, que o próprio compositor desejava publicar. Este livro traz uma sugestão de ordem progressiva aos estudos desta coleção. Preservam-se arcadas, dedilhados e instruções originais visando guardar preciosos ensinamentos deste notável professor. Consolidações e sugestões do editor estão anotadas em português e inglês.Como homenagem a Flausino Vale, adicionam-se dois prelúdios flausinianos de Dr. Zoltan Paulinyi para violino, com respectivas transcrições para viola.
$15.00
13.71 €
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Violon et Piano
#
Flausino Vale (and Zoltan Paulinyi)
#
Flausino Vale: 28 preludes for solo violin
#
Zoltan Paulinyi
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.93 €
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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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Revolting Children (from Matilda: The Musical) (arr. Mac Huff) (8-Piece Digital Pack)
Pack Instrumental pour Chorale
Choral - Digital Download SKU: HX.437070 Arranged by Mac Huff. This edition: scorch…
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Choral - Digital Download SKU: HX.437070 Arranged by Mac Huff. This edition: scorch. Broadway,Musical/Show. Choral Instrumental Pak. 1 pages. Duration 135. Hal Leonard - Digital #229128. Published by Hal Leonard - Digital (HX.437070).
Digital Pack includes:Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Trumpet 2Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Trumpet 1Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Tenor SaxRevolting Children (from Matilda: The Musical) (arr. Mac Huff) - TromboneRevolting Children (from Matilda: The Musical) (arr. Mac Huff) - SynthesizerRevolting Children (from Matilda: The Musical) (arr. Mac Huff) - GuitarRevolting Children (from Matilda: The Musical) (arr. Mac Huff) - BassRevolting Children (from Matilda: The Musical) (arr. Mac Huff) - Drums
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Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Trumpet 2
Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Trumpet 1
Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Tenor Sax
Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Trombone
Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Synthesizer
Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Guitar
Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Bass
Revolting Children (from Matilda: The Musical) (arr. Mac Huff) - Drums
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Revolting Children
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Coltrane Changes
Guitar - Intermediate-Advanced - Digital Download SKU: M0.20407MEB Applications …
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Guitar - Intermediate-Advanced - Digital Download SKU: M0.20407MEB Applications of Advanced Jazz Harmony for Guitar. Composed by Corey Christiansen. Improvising, Lines & Phrases. Mel Bay's Private Lessons. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet Music #20407MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.20407MEB). ISBN 9781619116429. 8.75x11.75 inches.John Coltrane's recording Giant Steps introduced a system of chord progressions and chord substitutions that has challenged even the best jazz musicians. The tri-tonic systems (sometimes referred to as Coltrane Changes) found in the tunes Giant Steps and Countdown is taught in a digestible way thoughout this method. Etudes show how to reharmonize standard ii-V-I changes with Coltrane Changes. The play-along audio will help students practice and master single-note lines over these chords in all 12 keys. Guitarists will appreciate the chord voicing suggestions. A must have for the serious jazz guitarist. Includes access to online audio.
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Corey Christiansen
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Coltrane Changes
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Mel Bay Publications - Digital Sheet Music
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Minuet from Music for the Royal Fireworks
Ensemble de cuivres
Brass Ensemble - Level 2 - Digital Download SKU: A0.1285573 Composed by George Frid…
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Brass Ensemble - Level 2 - Digital Download SKU: A0.1285573 Composed by George Frideric Handel. Arranged by Mark Armstrong. Baroque. Score and Parts. 14 pages. Seolta Music Limited #876678. Published by Seolta Music Limited (A0.1285573). Minuet from Music for the Royal Fireworks arranged for nine-piece brass ensemble with optional timpani.To browse all brass ensemble titles from Seolta Publishing click here.
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Ensemble de cuivres
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George Frideric Handel
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Mark Armstrong
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Minuet from Music for the Royal Fireworks
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Seolta Music Limited
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'Air' from Water Music
Flûte, Hautbois, Clarinette, Basson
Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A…
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Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1285571 Composed by George Frideric Handel. Arranged by Mark Armstrong. Baroque. Score and Parts. 14 pages. Seolta Music Limited #876676. Published by Seolta Music Limited (A0.1285571). The 'Air' from Handel's Water Music in an arrangement for nine-piece brass ensemble and optional timpani (Tpt x 2, Hn x 2, Trb x 3, Euph x 1, Tuba x 1, Timpani (optional).To browse all brass ensemble titles from Seolta Publishing click here.
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Flûte, Hautbois, Clarinette, Basson
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'Air' from Water Music
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Minuet from Music for the Royal Fireworks for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Level 2 - Digital Download SKU: A0.1285578 Composed by George Frideric Handel. Arra…
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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George Frideric Handel
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Minuet from Music for the Royal Fireworks for Brass Quintet
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Seolta Music Limited
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SheetMusicPlus
John Coltrane : Le meilleur de John Coltrane pour clarinette, Intermédiaire, Vol. 1
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Le meilleur de John Coltrane p
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Arnold Mendelssohn : Concerto pour violon n° 2 en mi mineur, Opus 64 - I. Allegro molto appassionato
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Tchaikovsky : Concerto pour piano n° 1, Opus 23 - I. Andante non troppo e molto maestoso
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Elgar : Concerto pour violoncelle, Opus 85 - I. Adagio. Moderato - II. Lento. Allegro molto
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Elgar
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Vivaldi : Les Quatre Saisons 'L'Été' - I. Allegro non molto
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Les Quatre Saisons 'L'Été'
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Mozart
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Arnold Mendelssohn : Concerto pour violon n° 2 en mi mineur, Opus 64 - I. Allegro molto appassionato (niveau facile/intermédiaire)
Violon
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Vivaldi : Concerto pour clarinette et orchestre n° 1 en si bémol majeur 'Sant' Angelo' - III. Molto Allegro
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Camille Saint Saens : Sonate pour clarinette, Opus 167 - IV. Molto allegro
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Vivaldi : Les Quatre Saisons 'L'Automne' - II. Adagio molto
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Les Quatre Saisons 'L'Automne'
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Tomplay
Camille Saint Saens : Concerto pour violoncelle n° 1 en la mineur, Opus 33 - I. Allegro non troppo - Animato - Allegro molto
Violoncelle
Téléchargez la partition Violoncelle Concerto pour violoncelle n° 1 en l…
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Téléchargez la partition Violoncelle Concerto pour violoncelle n° 1 en la mineur, Opus 33 - I. Allegro non troppo - Animato - Allegro molto de Saint-Saëns. Partition pour Violoncelle avec accomp. orchestre -- Classique
6.99 €
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Violoncelle
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Camille Saint Saens
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Concerto pour violoncelle n°
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Tomplay
Beethoven : Sonate pour violon n° 5 en fa majeur 'Le Printemps', Opus 24 – II. Adagio molto espressivo
Violon
Téléchargez la partition Violon Sonate pour violon n° 5 en fa majeur �…
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Téléchargez la partition Violon Sonate pour violon n° 5 en fa majeur 'Le Printemps', Opus 24 – II. Adagio molto espressivo de Beethoven. Partition pour Duo (Violon-Piano) -- Classique
7.99 €
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Violon
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Beethoven
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Sonate pour violon n° 5 en fa
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Tomplay
Mozart : Symphonie n° 40 en sol mineur, K. 550 - I. Molto allegro (niveau intermédiaire)
Piano seul
Téléchargez la partition Piano Symphonie n° 40 en sol mineur, K. 550 - I…
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Téléchargez la partition Piano Symphonie n° 40 en sol mineur, K. 550 - I. Molto allegro (niveau intermédiaire) de Mozart. Partition pour Piano seul -- Classique
4.99 €
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Piano seul
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Mozart
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Symphonie n° 40 en sol mineur
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Tomplay
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