English version
Parcourir Free-scores.com
--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
Crossing Field
Sheetmusicplus
Non classifié
3
Piano & claviers
Piano seul
4
Piano Quatuor: piano, violon, alto, violoncelle
1
Guitares
Basse electrique
1
Ukulele
1
Voix
Chorale SATB
1
Vents
Clarinette
4
Quatuor de Saxophones: 4 saxophones
1
Cuivres
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
1
Orchestre & Percussions
Orchestre à Cordes
1
Piano et Orchestre
1
Fanfare
1
Autres
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
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions Gratuites
24
Partitions Numériques
20
Librairie Musicale
0
Matériel de Musique
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Crossing Field
SheetMusicPlus
Partitions à imprimer
20 partitions trouvées
<
1
Crossing Field
Basse electrique
Bass Guitar - Level 3 - Digital Download SKU: A0.1133328 By LiSA. By Sho Watanabe (…
(+)
Bass Guitar - Level 3 - Digital Download SKU: A0.1133328 By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by T's bass score. Film/TV,Pop,Rock,Singer/Songwriter. Score. 6 pages. T's bass score #733122. Published by T's bass score (A0.1133328). LiSA crossing field Bass tab 5-strings (B-E-A-D-G) and Chords Sword Art Online Opining theme.
$5.99
5.52 €
#
Basse electrique
#
LiSA
#
T's bass score
#
Crossing Field
#
T's bass score
#
SheetMusicPlus
Crossing Field
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1236045 By LiSA. By Sho Watanabe (P…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.1236045 By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by poon. Film/TV,Pop. Score. 3 pages. Poon #831552. Published by poon (A0.1236045). Sword Art Online - Crossing Field -《ソードアート・オンライン》OP - For Piano Solo.
$4.99
4.6 €
#
Piano seul
#
LiSA
#
poon
#
Crossing Field
#
poon
#
SheetMusicPlus
Crossing Field
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1245058 By LiSA. By Sho Watanabe (P…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.1245058 By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by poon. Film/TV,Pop. Score. 7 pages. Poon #839962. Published by poon (A0.1245058). Crossing Field - Â Sword Art Online OP1 - For Piano Solo.
$4.99
4.6 €
#
Piano seul
#
LiSA
#
poon
#
Crossing Field
#
poon
#
SheetMusicPlus
At the Crossing: SATB and Piano
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1193920 Composed by Richar…
(+)
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1193920 Composed by Richard H. Neiderhiser. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. Octavo. 9 pages. Leatherman Music Services #793388. Published by Leatherman Music Services (A0.1193920). Rev. Richard (Dick) Neiderhiser composed this basic tune years ago as a setting for an Advent hymn text. With his permission I later arranged the tune as a piano solo, adding a John Field theme as the basis for the introduction. Years later, after being stricken with cancer, Dick wrote this text to fit the piano arrangement. I then arranged the piece for SATB choir (opt. mixed quartet), and added a light orchestration. Sadly we had to say goodbye to Dick in 2022 as he made the crossing that he had so eloquently anticipated in this text.The demo mp3 is computer-generated, and thus lacks some of the nuance which you would–of course–include in live performance!I will post the orchestration (or String Quartet and Flute or Oboe) separately.
$1.99
1.83 €
#
Chorale SATB
#
Richard H
#
Lyndell Leatherman
#
At the Crossing: SATB and Piano
#
Leatherman Music Services
#
SheetMusicPlus
At the Crossing: Instrumental Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1193933 Composed…
(+)
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1193933 Composed by Richard H. Neiderhiser. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. 31 pages. Leatherman Music Services #793403. Published by Leatherman Music Services (A0.1193933). Rev. Richard (Dick) Neiderhiser composed this basic tune years ago as a setting for an Advent hymn text. With his permission I later arranged the tune as a piano solo, adding a John Field theme as the basis for the introduction. Years later, after being stricken with cancer, Dick wrote this text to fit the piano arrangement. I then arranged the piece for SATB choir (opt. mixed quartet) and added this orchestration: string quartet /ensemble and flute or oboe.Sadly we had to say goodbye to Dick in 2022 as he made the crossing that he had so eloquently anticipated in this text.The demo mp3 is computer-generated, and thus lacks some of the nuance which you would–of course–include in live performance!The choral octavo (SATB and Piano with Flute or Oboe obbligato) is posted separately.
$19.99
18.43 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Richard H
#
Lyndell Leatherman
#
At the Crossing: Instrumental Score and Parts
#
Leatherman Music Services
#
SheetMusicPlus
Crossing Field
Clarinette
B-Flat Clarinet Solo - Level 2 - Digital Download SKU: A0.1366930 By LiSA. By Sho W…
(+)
B-Flat Clarinet Solo - Level 2 - Digital Download SKU: A0.1366930 By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by Performance Librarian. Film/TV,Pop. Individual part. 2 pages. Performance Library #951269. Published by Performance Library (A0.1366930).
$4.99
4.6 €
#
Clarinette
#
LiSA
#
Performance Librarian
#
Crossing Field
#
Performance Library
#
SheetMusicPlus
Crossing Field
Clarinette
B-Flat Clarinet Solo - Level 2 - Digital Download SKU: A0.1366934 By LiSA. By Sho W…
(+)
B-Flat Clarinet Solo - Level 2 - Digital Download SKU: A0.1366934 By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by Performance Librarian. Film/TV,Pop. Individual part. 2 pages. Performance Library #951273. Published by Performance Library (A0.1366934).
$4.99
4.6 €
#
Clarinette
#
LiSA
#
Performance Librarian
#
Crossing Field
#
Performance Library
#
SheetMusicPlus
Crossing Field
Clarinette
B-Flat Clarinet Solo - Level 2 - Digital Download SKU: A0.1366932 By LiSA. By Sho W…
(+)
B-Flat Clarinet Solo - Level 2 - Digital Download SKU: A0.1366932 By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by Performance Librarian. Film/TV,Pop. Individual part. 3 pages. Performance Library #951271. Published by Performance Library (A0.1366932).
$4.99
4.6 €
#
Clarinette
#
LiSA
#
Performance Librarian
#
Crossing Field
#
Performance Library
#
SheetMusicPlus
Crossing Field
Clarinette
B-Flat Clarinet Solo - Level 2 - Digital Download SKU: A0.1366928 By LiSA. By Sho W…
(+)
B-Flat Clarinet Solo - Level 2 - Digital Download SKU: A0.1366928 By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by Performance Librarian. Film/TV,Pop. Individual part. 3 pages. Performance Library #951267. Published by Performance Library (A0.1366928).
$4.99
4.6 €
#
Clarinette
#
LiSA
#
Performance Librarian
#
Crossing Field
#
Performance Library
#
SheetMusicPlus
Crossing Field
Brass Ensemble Euphonium,Trombone,Tuba - Level 4 - Digital Download SKU: A0.799780 …
(+)
Brass Ensemble Euphonium,Trombone,Tuba - Level 4 - Digital Download SKU: A0.799780 By LiSA. By Sho Watanabe and Sho Watanabe (Pka Sho Watanabe). Arranged by Christopher William Palmer. Contemporary. Score and parts. 17 pages. Christopher William Palmer #6019325. Published by Christopher William Palmer (A0.799780). The original opening to Sword Art Online Season 1. Perfect for recitals and busking near anime conventions. Bass trombone part also works great on tuba.
$17.99
16.59 €
#
LiSA
#
Christopher William Palmer
#
Crossing Field
#
Christopher William Palmer
#
SheetMusicPlus
Crossing Field
Ukulele
Ukulele - Level 3 - Digital Download SKU: A0.1082433 By LiSA. By Sho Watanabe (Pka …
(+)
Ukulele - Level 3 - Digital Download SKU: A0.1082433 By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by Cody Ukulele. Film/TV,Multicultural,Pop,Rock,World. Score. 4 pages. Cody Ukulele #686613. Published by Cody Ukulele (A0.1082433).
$4.99
4.6 €
#
Ukulele
#
LiSA
#
Cody Ukulele
#
Crossing Field
#
Cody Ukulele
#
SheetMusicPlus
Crossing Field
Piano seul
Instrumental Solo,Piano and Keyboard - Level 3 - Interactive Download SKU: A0.1135495
(+)
Instrumental Solo,Piano and Keyboard - Level 3 - Interactive Download SKU: A0.1135495 By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by Michelle Martin. This edition: Interactive Download. Film/TV. Individual part. 3 pages. Duration 87. Michelle Brown-Martin #6jvROyixQKdmVjeXTNUhmR. Published by Michelle Brown-Martin (A0.1135495). Key: F major.
$4.99
4.6 €
#
Piano seul
#
LiSA
#
Michelle Martin
#
Crossing Field
#
Michelle Brown-Martin
#
SheetMusicPlus
Crossing Field
Quatuor de Saxophones: 4 saxophones
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Ten…
(+)
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.799781 By LiSA. By Sho Watanabe and Sho Watanabe (Pka Sho Watanabe). Arranged by Christopher William Palmer. Contemporary. 19 pages. Christopher William Palmer #6019335. Published by Christopher William Palmer (A0.799781). The original opening to Sword Art Online Season 1. Perfect for recitals and busking near anime conventions. Includes an alto sax substitute part for soprano.
$17.99
16.59 €
#
Quatuor de Saxophones: 4 saxophones
#
LiSA
#
Christopher William Palmer
#
Crossing Field
#
Christopher William Palmer
#
SheetMusicPlus
Crossing Field
Orchestre à Cordes
By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by Joseph Perkins. Film/TV, Pop.…
(+)
By LiSA. By Sho Watanabe (Pka Sho Watanabe). Arranged by Joseph Perkins. Film/TV, Pop. Score and parts. 26 pages. Joseph Perkins #736508. Published by Joseph Perkins
$49.99
46.09 €
#
Orchestre à Cordes
#
LiSA
#
Joseph Perkins
#
Crossing Field
#
Joseph Perkins
#
SheetMusicPlus
Have You Ever Seen The Rain?
Fanfare
Marching Band - Level 1 - Digital Download SKU: A0.1188797 By Creedence Clearwater …
(+)
Marching Band - Level 1 - Digital Download SKU: A0.1188797 By Creedence Clearwater Revival. By John Fogerty. Arranged by Tim Show. Rock. Score and parts. 26 pages. Tim Show #788411. Published by Tim Show (A0.1188797). 'Have You Ever Seen the Rain' is a timeless rock and roll classic from John Fogerty and Creedence Clearwater Revival. This arrangement is primarily targeted for young bands and for students getting their first experiences playing pep tunes in the stands and on the field. There are many educational opportunities that you will find in this arrangement including a clarinet part that explores playing over the break and under the break, but not constantly crossing over it, and reinforcing the students ability to correctly interpret a roadmap with first and second endings, a D.S., and Coda. Also, this arrangement includes a bass clarinet part, uses a unison bass drum part, and trumpet high range is limited to 4th space 'E'Written as a Grade 1 or Easy level arrangement.
$50.00
46.1 €
#
Fanfare
#
Creedence Clearwater Revival
#
Tim Show
#
Have You Ever Seen The Rain?
#
Tim Show
#
SheetMusicPlus
PDX for Solo Piano
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.938017 Composed by Liz Nedela. 20th…
(+)
Piano Solo - Level 4 - Digital Download SKU: A0.938017 Composed by Liz Nedela. 20th Century,Contemporary,Contest,Festival,Instructional. Score. 24 pages. Liz Nedela #6114755. Published by Liz Nedela (A0.938017). PDX for piano solo is a set of four pieces portraying part of the vastly varied life in the city of Portland, Oregon -- PDX (its airport acronym) -- The City of Roses, Bridgetown, Rip City-- known for all-inclusive creativity in the arts and music, cultural diversity and independence, as well as community unity and tolerance. Located on the Columbia River, it has varied climates, homes built on the water, beautiful views, and a landscape of rolling hills in the beautiful state of Oregon. The music is an adaption of four of the pieces in Mood Suite by the same composer, which has been enjoyed by students, teachers, and professional pianists! The set is comprised of teaching pieces, each in its own scale and composition style, and has been descriptive of a variety of interpretations, names changes, and events that are portrayed by the music. See each piece for detailed analysis. PDX transforms four of the pieces to depict: The Banfield (Portland’s first freeway); Fog, Rain, Wind (its changing climate); Pioneer Square (a favorite spot used for a vast variety of events); and Tilikum Crossing (the new land bridge which is laden with fun). NOTE: The recordings are:PDX for Solo Piano, live performance of three of the pieces. Pioneer Square is an Mp3 of music software (although it has been performed often, there is no live recording) and can be obtained free from the composer.
$8.50
7.84 €
#
Piano seul
#
Liz Nedela
#
PDX for Solo Piano
#
Liz Nedela
#
SheetMusicPlus
Parallel Tracks
Piano Quatuor: piano, violon, alto, violoncelle
Piano Quartet Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1404728…
(+)
Piano Quartet Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1404728 Composed by Terry Vosbein. 21st Century,Chamber,Classical. 57 pages. Max Frank Music #987795. Published by Max Frank Music (A0.1404728). “Parallel Tracks†was primarily inspired by a ten day train trip, from the heart of Virginia to the far west and back. It is not necessarily a narrative of that journey. Rather, it is a collage of sensations, taking in the sounds, smells, tastes, and feelings of the voyage. Much like the views through the train windows, the musical vistas of this work change rapidly. There are rolling fertile plains, deep river valleys, and jagged mountainous peaks. The train passes through some of the nations’s larg- est cities and some of its tiniest bergs, crosses some of the oldest and newest mountain ranges in the country. There are tunnels and trestles, forests, farms, and prairies. It is incredibly calm yet delightfully exciting.There is something elegant about spending an extended period crossing the country in an Amtrak roomette. On such trains as the Cardinal, the Empire Builder, the Coast Starlight, and the Califor- nia Zephyr, it feels as if one is stepping into the past. Nothing is rushed. Fine dining, spectacular views, riveting conversations with strangers. The grandeur of the mighty stations, such as Union Station in Chicago. And the humble beauty of the smaller stops like Staunton, Virginia, my starting and ending point.The perpetual motion of train travel is unique. The movement can feel smooth at times and bone rattling just a few minutes later. It can be a quiet purr or the sound of grating metal. And yet the gentle sway can envelop one like a blanket, enticing deep sleep throughout the night. Waking to pastries and coffee while rolling across the countryside is divine. And elegant.“Parallel Tracks†begins with a sound of forward motion put forth by the piano. Smooth and easy. Plucked strings ride on top of the steady piano pad as the chain of cars passes effortlessly through fields. As the cello presents the first theme, a more strident feeling is revealed and explored, driv- ing the engine toward its dramatic destinations. The first climax gives way to a playful scherzo-like section, the elegance of the journey on full display. The return of the first theme at a more majestic tempo announces that the voyage’s terminus is near.The parallel tracks on which a train glides are always a fixed distance and never cross. The parallel tracks of life are not so bound by mathematics. There is something more fluid when the tracks are allowed to cross. The string section and the piano each create their own track in this composition, frequently squaring off. At times it is if they are on the same train but sitting in opposite directions and on the opposite side of the car. There are moments that even sound as if they are proceeding at two different speeds. But their tracks are never too divergent, never really out of sync. And both arrive at the final stop together.
$19.99
18.43 €
#
Piano Quatuor: piano, violon, alto, violoncelle
#
Terry Vosbein
#
Parallel Tracks
#
Max Frank Music
#
SheetMusicPlus
Bailero variations for clarinet and guitar - live performance (mp3)
Clarinet,Guitar - Level 4 - Digital Download SKU: A0.1268797 By András Csáki …
(+)
Clarinet,Guitar - Level 4 - Digital Download SKU: A0.1268797 By András Csáki and Balázs Rumy. By Traditional. Arranged by David Warin Solomons. Contemporary,Folk. Full Performance. Duration 179. David Warin Solomons #861329. Published by David Warin Solomons (A0.1268797). Words of the original song (in Auvergnat)Pastré, dè dèlaï l'aïo a gaïré dé boun tèn, dio lou baïlèro lèro. Lèro lèro lèro lèro baïlèro lô.E n'en ai gaïré è dio tu baïlèro lèro. Lèro lèro lèro lèro baïlèro lô.Pastré lou prat faï flour, li cal gorda toun troupèl, dio lou baïlèro lèro. Lèro lèro lèro lèro baïlèro lô. L'èrb ès pu fin ol prat d'oïci, baïlèro lèro. Lèro lèro lèro lèro baïlèro lô.Pastré, couci foraï en o bal io lou bel rîou, dio lou baïlèro lèro. Lèro lèro lèro lèro baïlèro lô. Espèro mé té baô circa baïlèro lèro. Lèro lèro lèro lèro baïlèro lô.My English singing version:Shepherd, across the water, you stand in wind and rain, sing the bailero lero. Lero lero lero lero bailero lo. I stand in wind and rain and sing bailero lero. Lero lero lero lero bailero lo.Shepherd, see these fair fields, come and feed your flocks, sing the bailero lero. Lero lero lero lero, bailero lo. Here all the grass is greener, sing bailero lero. Le ro lero lero lero bailero lo.Shepherd, the water keeps me from crossing o'er, sing bailero lero. Lero lero lero lero, bailero lo. I shall come down and fetch you o'er, bailero lero. Lero lero lero lero bailero lo.It is performed here byBalázs Rumy clarinetAndrás Csáki guitar.
$4.50
4.15 €
#
András Csáki and Balázs Rumy
#
David Warin Solomons
#
Bailero variations for clarinet and guitar - live performance
#
David Warin Solomons
#
SheetMusicPlus
Hungarian Folksongs, - instruments in four parts
Small Ensemble,Strings - Level 3 - Digital Download SKU: A0.835891 Composed by Bela…
(+)
Small Ensemble,Strings - Level 3 - Digital Download SKU: A0.835891 Composed by Bela Bartok. Arranged by Paul Burnell. 20th Century,Folk,World. Score and parts. 72 pages. Paul Burnell #6521857. Published by Paul Burnell (A0.835891). Hungarian Folksongs (1906) BB 42 (Sz. 33), Béla Bartók, arranged by Paul Burnell for instruments in four partsDownload comprises both score and parts.Duration 14:00Score in CThe arrangement is suitable for multiple quartet combinations with parts available (and potential instrumentations suggested) as follows:Part 1: C, Eb (Flute, Oboe, Alto Recorder, Eb Clarinet, Violin 1)Part 2: C, Bb, G (Alto Flute, Oboe, Tenor Recorder, Bb Clarinet, Violin 2)Part 3: C, Bb, Eb, F (Bb Clarinet, Bass Recorder, Alto Saxophone, Horn in F, Violin 3, Viola)Part 4: C, Bb, F (Bassoon, Great bass Recorder, Tenor Saxophone, Horn in F, 'Cello) Part 4 may be played an octave lower than written - using the 'Bass Clef up 8' part.Any other appropriate instruments, even if not suggested above, may play.The keys of the original compositions are retained in these arrangements.Programme note:In 1906 the Hungarian composers Béla Bartók (1881 – 1945) and Zoltán Kodály (1882 – 1967) published a collection of twenty Hungarian Folksong arrangements for voice and piano ('Magyar népdalok énekhangra és zongorára'). The first ten arrangements are by Bartók. The first song: 'Elindultam szép hazámból' (I left my beautiful fatherland) came to be applied to Bartók himself after his self-imposed exile in the USA. The third and fourth movements are in two parts - the third movement presenting two versions of 'Fehér László', and the fourth movement containing two different songs - 'A gyulai kert alatt' and 'A kertmegi kert alatt'. In later editions, the fifth song - 'Ucca, ucca, ég az ucca' - was omitted, but is retained in these arrangements for instruments in four parts.The titles of the ten songs by Bartók are:1. Elindultam szép hazámbul / Far Behind I Left My Country2. Ãltal mennék én a Tiszán ladikon / Crossing the River3a. Fehér László / The Horse-thief3b. Fehér László / The Horse-thief4a. A gyulai kert alatt / In the Summer Fields4b. A kertmegi kert alatt / I Was in a Garden Green5. Ucca, ucca, ég az ucca6. Ablakomba, ablakomba / Deceived in Love7. Száraz ágtól messze virÃt a rózsa / Love’s a Burden8. Végigmentem a tárkányi / Walking Through the Town9. Nem messze van ide kis Margitta / The Horseman10. Szánt a babám / My Love Has Gone A-ploughing.
$4.99
4.6 €
#
Bela Bartok
#
Paul Burnell
#
Hungarian Folksongs, - instruments in four parts
#
Paul Burnell
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
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
22.12 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
Crossing Field
