Entangled - Partitions musicales à imprimer - Mondial de la partition numérique

Entangled

Entangled Swapping: 'Cellos & Pitched Percussion

#Entangled Swapping: 'Cellos & Pitched Percussion

#Entangled

Entangled by Genesis - Piano/Vocal/Guitar

Entangled by Genesis - Piano/Vocal/Guitar
Piano, Voix et Guitare

Performed by: Genesis: Entangled Digital Sheetmusic - instantly downloadable sheet music p…(+)

Performed by: Genesis: Entangled Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar, instruments: Voice;Piano;Guitar;Backup Vocals; 6 pages -- Art-Rock/Progressive~~Pop Rock~~Album Rock
$5.50 5 € #Piano, Voix et Guitare #Genesis #Piano/Vocal/Guitar #Musicnotes

November

Cello,Clarinet,Flute,Piano,Violin - Level 5 - Digital Download SKU: A0.1488936 Comp…(+)

Cello,Clarinet,Flute,Piano,Violin - Level 5 - Digital Download SKU: A0.1488936 Composed by Robert Dusek. Chamber,Classical,Contemporary. 41 pages. DaCapo, LLC #1065786. Published by DaCapo, LLC (A0.1488936). An elegant, entangled and virtuosic encounter for mixed ensemble. Evocative and somplex, and yet a strangely beautiful landscape.
$8.99 8.18 € #Robert Dusek #November #DaCapo, LLC #SheetMusicPlus

Tannhäuser und der Sängerkrieg auf Wartburg

Soloists, choir and orchestra - Digital Download SKU: S9.Q17851 Scenario in 3 ac…(+)

Soloists, choir and orchestra - Digital Download SKU: S9.Q17851 Scenario in 3 acts. Composed by Richard Wagner. This edition: study score. Choral music - ernst eulenburg - score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 185' 0. Ernst Eulenburg & Co. GmbH - Digital #Q17851. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q17851). German.Numerous revisions and adaptations are entangled in the complex history of the work 'TannhÃ¤user'. After the world premiere in Dresden in 1845 had failed to be well received by the audience, Wagner revised large parts of the opera several times in the following decades. The most comprehensive changes were made for the Paris performance in March 1861, but even after that he made further revisions which superseded some of the previous changes and were performed in Vienna in 1875 among others. The study score is based on the version of 1875 which has misleadingly been published as the 'Paris version' until today and has actually to be referred to as 'Viennese version'. The musical text is identical to that of the critical edition within the Wagner Complete Edition, with the errata discovered since then having been corrected.3 (3. auch Picc.) Â· 2 Â· 2 Â· Bassklar. Â· 2 - 2 Ventilhr. Â· 2 Waldhr. Â· 3 Â· 3 Â· 1 - P. S. (Trgl. Â· Beck. Â· Schellentr. Â· gr. Tr. Â· Kast.) (2 Spieler) - Hfe. - Str. Auf der BÃ¼hne: Picc. Â· 2 Â· 2 Â· Engl. Hr. Â· 3 Â· 0 - 4 Â· 12 Waldhr. Â· 12 Â· 0 Â· 0 - S. (Trgl. Â· Beck. Â· Schellentr.) - Hfe.
$71.99 65.48 € #Richard Wagner #Tannhäuser und der Sängerkrieg auf Wartburg #Ernst Eulenburg & Co. GmbH - Digital #SheetMusicPlus

Russian Roulette
Chorale SSAA

Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.856187 By Rihanna. By Char…(+)

Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.856187 By Rihanna. By Charles Harmon and Shaffer Smith. Arranged by Liz Garnett. Dance,Pop,R & B. Octavo. 4 pages. Liz Garnett #3918939. Published by Liz Garnett (A0.856187). This is a compelling and dark song from Rihanna's 2009 album Rated R. It uses the game of Russian Roulette as a metaphor for the experience of a dangerous relationship, capturing the vulnerability but also the perceptive self-knowledge of the woman who finds herself thus entangled.N.B. This arrangement is notated in treble and bass alta (i.e. sung an octave higher than written) clefs.Vocal Ranges:Tenor: A3 - E5Lead: A3 - C#5Bari: A3 - A4Bass: D3 - D#4www.HelpingYouHarmonise.com
$2.99 2.72 € #Chorale SSAA #Rihanna #Liz Garnett #Russian Roulette #Liz Garnett #SheetMusicPlus

Boyeojulge- Mandarin Version
Ligne De Mélodie, (Paroles) et Accords

Instrumental Duet,Piano C Instrument - Level 2 - Digital Download SKU: A0.880914 By…(+)

Instrumental Duet,Piano C Instrument - Level 2 - Digital Download SKU: A0.880914 By Ailee. By Do Hoon Kim, Eun Kyung Kang, and Hyun Seung Lee. Arranged by Marco Polo C. Ignacio. Contemporary. Lead Sheet / Fake Book. 2 pages. MARCO POLO IGNACIO #6341979. Published by MARCO POLO IGNACIO (A0.880914). Memories of the Alhambra (Korean: ì•Œí•¨ë¸Œë¼ ê¶ì „ì˜ ì¶”ì–µ; RR: Alhambeura Gungjeonui Chueok) is a 2018 South Korean television series, starring Hyun Bin and Park Shin-hye. Primarily set in Spain (and in South Korea in latter episodes), the series centers on a company CEO and a hostel owner who get entangled in a series of mysterious incidents surrounding a new and intricate augmented reality game inspired by the stories of the Alhambra Palace.The song is in the 3rd track of the OST, which was sung by Ailee.
$4.99 4.54 € #Ligne De Mélodie, (Paroles) et Accords #Ailee #Marco Polo C #Boyeojulge- Mandarin Version #MARCO POLO IGNACIO #SheetMusicPlus

Hector's Dolphin
Piano, Voix

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.982707 Composed by Jo Ellen …(+)

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.982707 Composed by Jo Ellen Yeaple. Children,Contemporary,Instructional. Score. 2 pages. Jo Ellen Yeaple #2017211. Published by Jo Ellen Yeaple (A0.982707). Hector's Dolphin is found only in New Zealand. He averages between 3-5 feet in length and weighs between 90-130 pounds. His skin is a beautiful combination of pale greys, but his dorsal fin, flippers, and flukes are black. His belly is a creamy white, and he appears to be wearing a black mask around his eyes. Hector's Dolphin is endangered due to becoming entangled in gill-nets and drowning. There are approximately 7,000 Hector's Dolphins remaining of a population of almost 30,000 in the 1970's.
$3.99 3.63 € #Piano, Voix #Jo Ellen Yeaple #Hector's Dolphin #Jo Ellen Yeaple #SheetMusicPlus

Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1371768 Composed by Socrates Arvanitakis. 21st Century,Contemporary. 75 pages. Socrates Arvanitakis #955999. Published by Socrates Arvanitakis (A0.1371768). GENERAL PREFACE â€“ Î“Î•ÎÎ™ÎšÎŸÎ£ Î Î¡ÎŸÎ›ÎŸÎ“ÎŸÎ£This edition of violin and violoncello duets follows closely my publication of the same Greek folk pieces for classical guitar. The arrangements for guitar solo were written in two-part counterpoint and followed the strophic form of the folk songs involved. The melodic transcriptions of the folk melodies were not based in any particular performance, also avoiding the elaborate in many cases instrumental introductions associated with these songs. Thus, only the vocal melodies in a general recognizable version were presented. This new presentation for instrumental duets will stay with this generalised melodic version (without exploiting the instrumental introductions), but the form from strophic will become ternary (ABA). In the middle section the main melody will be played in the lower voice and the original guitar contrapuntal voice will be used in the upper voice if by chance it includes invertible counterpoint, otherwise new material will be added to fit the rules but also the intended harmony.The total collection is centred more on the music from mainland Greece and less in that from the Islands.The three dance rhythms of Kalamatianos (7/8), Tsamikos (3/4), and Syrtos Balos (2/4) are predominant in the whole first collection.TECHNICALSeparate parts have been included and they can be extracted as separate files with any free PDF editing programme on line.Empty pages have been added for inclusion/deletion at will and left-right hand page arrangement.Thematic Index with active internal links for ease of navigation have been added.Audio file (mp3) has been addedCONTENTS146 ÎœÎ™Î‘ Î Î‘Î Î‘Î”Î™Î‘ (A Certain Priest's Wife)147 ÎœÎ™Î‘ Î Î•Î¡Î”Î™ÎšÎŸÎ¥Î›Î‘ ÎžÎ•Î’Î“Î‘Î™ÎÎ• (A Little Partridge Was Coming Out)148 ÎœÎ™Î‘ Î£ÎœÎ¥Î¡ÎÎ™Î‘ Î£Î¤ÎŸ Î Î‘Î¡Î‘Î˜Î¥Î¡Î™ (A Lass From Smyrna In The Window)149 ÎœÎ™Î‘ Î¦ÎŸÎ¡Î‘ 'ÎœÎŸÎ¥ÎÎ‘ Î ÎŸÎ¥Î›Î™ (Once I Â Was A Bird)150 ÎœÎŸÎ™Î‘Î–Î•Î™Î£ (You Are Like...)151 ÎœÎŸÎ™Î¡ÎŸÎ›ÎŸÎ“Î™ (Dirge)152 ÎœÎŸÎ¥ Î Î‘Î¡Î—Î“Î“Î•Î™Î›Î• Î¤' Î‘Î—Î”ÎŸÎÎ™ (The Nightingale Messaged Me)153 ÎœÎ Î‘Î™ÎÎ© ÎœÎ•Î£' Î¤' Î‘ÎœÎ Î•Î›Î™ (I enter the Vine Yard)154 ÎœÎ Î‘Î›ÎŸÎ£ ÎŸ (Balos Dance)155 ÎœÎ Î‘Î¤Î• ÎšÎŸÎ¡Î™Î¤Î£Î™Î‘ Î£Î¤ÎŸ Î§ÎŸÎ¡ÎŸ 1 (Girls, Joint The Dance 1)156 ÎœÎ Î‘Î¤Î• ÎšÎŸÎ¡Î™Î¤Î£Î™Î‘ Î£Î¤ÎŸ Î§ÎŸÎ¡ÎŸ 2 (Girls Joint The Dance 2)157 ÎœÎ Î•Î¡Î”Î•Î¥Î¤Î—ÎšÎ• ÎœÎ™Î‘ Î›Î•ÎªÎœÎŸÎÎ™Î‘ (A Lemon Tree Was Entangled)158 ÎÎ‘ Î§Î‘ÎœÎ—Î›Î©ÎÎ‘Î Î¤Î‘ Î’ÎŸÎ¥ÎÎ‘ (Let The Mountains Come Low)159 ÎÎ‘ÎÎŸÎ¥Î¡Î™Î£ÎœÎ‘ (Lullaby)160 ÎÎ‘Î£Î‘Î Î¤Î‘ ÎÎ•Î™Î‘Î¤Î‘ Î”Î¥ÎŸ Î¦ÎŸÎ¡Î•Î£ (I Wish Youth Was Twice)161 ÎÎ‘Î§Î‘ ÎÎ•Î¡ÎŸ 'Î Î¤ÎŸÎ Î Î›Î‘Î¤Î‘ÎÎŸ Â (I Wish I Had Water From The Plane Tree).

Appassionato
Orchestre de chambre

Chamber orchestra - Grade 3 - Digital Download SKU: IZ.OMS128 Composed by Peter Nos…(+)

Chamber orchestra - Grade 3 - Digital Download SKU: IZ.OMS128 Composed by Peter Nostrand. Score and Parts. 34 pages. Imagine Music - Digital #OMS128. Published by Imagine Music - Digital (IZ.OMS128). 9 x 12 in inches.For Chamber Orchestra (Grade 3). By Peter Nostrand. Appassionato is a story about the struggle for love. While it was composed in a traditional ABA structure, there are many elements in this composition which are not at all traditional. As the piece awakens, the oboes and flutes seem innocent and coquettish. As orchestral participation grows, one has the sense of an entire field of rich colors growing before our very ears. Enter the piano. Simple, elegant and romantic. Softly supported by the strings, the piano issues an invitation to the winds. They respond cautiously, obviously curious to see what this charming piano has in mind. The strings express an opinion. It's not what the piano wants and he presses harder. The strings and winds question each other, back and forth with triplets. Who is this piano? The mid-section is an announcement by the strings that a love relationship may be in the cards. The piano replies with passion and tenderness.With eighth notes, the strings become entangled with the piano, counseling it, guiding it. The winds using triplets put their two cents on the table. They're not so sure. The piano makes a passionate plea; the strings are supportive. The piano and the winds have a conversation. They finally dance together. In the end,.Appassionato is a musical expression of the struggle over whether or not love is worth the risk Sometimes in conflict sometimes in harmony, the piano and winds do unite. Passion has won.
$30.00 27.29 € #Orchestre de chambre #Peter Nostrand #Peter Nostrand #the strings are supportive #Appassionato #Imagine Music - Digital #SheetMusicPlus

[Mitchell] Endless Forms Most Beautiful

Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.952519 Composed by Dar…(+)

Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.952519 Composed by Darleen Mitchell. Contemporary. 31 pages. American Composers Alliance Inc. #4608083. Published by American Composers Alliance Inc. (A0.952519). Four songs for baritone and piano on texts by Charles Darwin. Includes: I. The Entangled Bank, II. What Could Be More Curious, III. As All the Living Forms of Life, IV. There is Grandeur.
$11.95 10.87 € #Darleen Mitchell #[Mitchell] Endless Forms Most Beautiful #American Composers Alliance Inc. #SheetMusicPlus

Wedding March from “A Midsummer Night's Dream” Op. 61 for Brass Ensemble

Brass Ensemble Bass Trombone,Euphonium,Horn,Trumpet,Tuba - Level 5 - Digital Download S…(+)

Brass Ensemble Bass Trombone,Euphonium,Horn,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1297452 Composed by Felix Bartholdy Mendelssohn. Arranged by Shinya Ishida. 19th Century,Classical,Wedding. Score and Parts. 31 pages. BitNotes.jp #887509. Published by BitNotes.jp (A0.1297452). The Wedding March is a delightful composition by the German composer Felix Mendelssohn, originally conceived as part of the incidental music for William Shakespeare's play A Midsummer Night's Dream. This enchanting piece comes to life during the wedding scene, set on a magical night where fairies revel and four young lovers, along with the Fairy King and Queen, find themselves entangled in the mischief of a love potion, ultimately celebrating two joyous unions.Composed in 1842, this piece gained widespread recognition when it was performed alongside Wagner's Bridal Chorus at the wedding of Prince Friedrich of Prussia and Princess Victoria of the United Kingdom in 1858. Since then, it has remained a timeless classic and a staple in weddings and joyous celebrations worldwide.We have meticulously transcribed this iconic wedding composition for a brass ensemble featuring ten musicians (3 trumpets, 3 horns, 3 trombones, and 1 tuba). For those seeking to add an extra layer of grandeur to their performance, optional percussion instruments (cymbals and triangle) can be seamlessly incorporated.It's worth noting that the Bass Trombone part can be played on the Euphonium as well, offering flexibility to the ensemble. Given the piece's length and multiple repetitions, individual performers can consider omitting repeats or making cuts to suit the performance scene and endurance levels.Elevate your special occasion with this timeless masterpiece, the Wedding March, expertly arranged for brass ensemble. It's the perfect choice to add a touch of elegance and magic to your wedding or celebratory event.
$12.00 10.92 € #Felix Bartholdy Mendelssohn #Shinya Ishida #Wedding March from “A Midsummer Night's Dream” Op. 61 for Brass Ensemble #BitNotes.jp #SheetMusicPlus

fardanceCLOSE
Piano seul

Piano - difficult - Digital Download SKU: S9.Q11142 For piano. Composed by C…(+)

Piano - difficult - Digital Download SKU: S9.Q11142 For piano. Composed by Chaya Czernowin. This edition: Sheet music. Downloadable. Duration 6 minutes. Schott Music - Digital #Q11142. Published by Schott Music - Digital (S9.Q11142). What dance is this? Is it the dance coming from afar, its remnants too entangled to decipher, one which was brought by a gust of wind, as you stand alone and listen to a far away party in the night? Or is the one so close that the heavy beating keeps the ears grounded onto a distorted repeated detail? Neither is danceable to the legs â€“ but both would like to dance with the imagination, leading notions of distance and closeness astray. The level of difficulty from 1-5 (5 being most difficult) is in terms of technicality around 3.7 and in terms of artistic expression and complexity of text around 4.5. â€“ Chaya Czernowin.
$9.99 9.09 € #Piano seul #Chaya Czernowin #fardanceCLOSE #Schott Music - Digital #SheetMusicPlus

Two Songs
Voix Soprano, Piano

Soprano voice and piano - Digital Download SKU: S9.Q40373 After poems by Friedri…(+)

Soprano voice and piano - Digital Download SKU: S9.Q40373 After poems by Friedrich HÃ¶lderlin. Composed by Detlev Mueller-Siemens. This edition: Sheet music. Downloadable. Duration 12 minutes. Schott Music - Digital #Q40373. Published by Schott Music - Digital (S9.Q40373). German.Two poems of Friedrich HÃ¶lderlin bearing almost the same title form the basis of the text for 'Zwei Lieder' (Two Songs): 'Die Aussicht' and 'Aussicht'. Unlike as with common musical settings of poems, Detlev MÃ¼ller-Siemens has split the vocal part in two levels. On the one hand, HÃ¶lderlin's text is recited, on the other hand, fragments of the poems are sung at a lower, contemplative level. 'Like vague memories, ascending from the inside from afar. An idyll that becomes entangled in its own images.'.
$16.99 15.45 € #Voix Soprano, Piano #Detlev Mueller-Siemens #Two Songs #Schott Music - Digital #SheetMusicPlus

Steve Hackett: Entangled for voice, piano and guitar

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)

String orchestra or 12 solo- strings - Digital Download For string orchestra or 12 solo strings. Composed by Gyorgy Ligeti (1923-2006). This edition: study score. Music Of Our Time. Downloadable. Duration 9 minutes. Schott Music - Digital #Q2702. Published by Schott Music - Digital
Ramifications represents a further development of my method of composition with complex musical net-formations. it is, as it were, a terminus in the development from dense and static to broken-up and mobile. The title refers to the polyphonic technique of the part-writing. in one skein, individual parts that are twisted together move in divergent directions so that the strand of the voice gradually become disentangled. The total form is made up of the alternation of ramification and unification of the parts and of the rents or bunching together of the net-formation that ensues from this. And as well as that, there are in this piece new aspects of a micro-tonal harmony. Even earlier I was occasionally working with deviations from the equal temperament (Requiem, Volumina, Harmonies, Second String Quartet). But what is new here is the consistent application of an idea of hyperchromatic harmony. This is made possible by one half of the string instruments being tuned a quarter-tone higher than the others. From the automatically ensuing differences in intonation when the instruments are played, arises a fluctuation in pitch such that one can hardly ever hear exact quarter-tone intervals. In only a few dense places approximative quarter-tone clusters result. apart from that we find a totally new kind of uncertain harmony, as though the harmonies had rotted: thex have a strong taste and decay has permeated the music.<br> - Gyorgy Ligeti.