English version
Parcourir Free-scores.com
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
10
Partitions
Numériques
15
Librairie
Musicale
33
Matériel
de Musique
13
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
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
Non classifié
1
PIANO & CLAVIERS
Piano seul
7
Piano Facile
2
GUITARES
Guitare notes et tablatures
1
VOIX
VENTS
Clarinette, Trombone (duo)
1
CUIVRES
CORDES
Violon
1
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1
Piano et Orchestre
1
AUTRES
Vous avez sélectionné:
Five Notes Pattern 6
Partitions à imprimer
15 partitions trouvées
<
1
Five Notes Pattern 6
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.963450 Composed by Cristiano Vecchi…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.963450 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz,Ragtime. Score. 6 pages. Cristiano Vecchi #5311107. Published by Cristiano Vecchi (A0.963450). A pattern of five notes in progression harmonized by jazz chords (mostly diminished ones), an effective exercise to achieve melodic coherence in improvisation.Twelve transpositions for a very useful practice!My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99
1.82 €
#
Piano seul
#
Cristiano Vecchi
#
Five Notes Pattern 6
#
Cristiano Vecchi
#
SheetMusicPlus
Five Notes Pattern 5
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.963443 Composed by Cristiano Vecchi…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.963443 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score. 6 pages. Cristiano Vecchi #5311071. Published by Cristiano Vecchi (A0.963443). A pattern of five notes in progression harmonized by jazz chords (mostly diminished ones), an effective exercise to achieve melodic coherence in improvisation.Twelve transpositions for a very useful practice!My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99
1.82 €
#
Piano seul
#
Cristiano Vecchi
#
Five Notes Pattern 5
#
Cristiano Vecchi
#
SheetMusicPlus
Five Notes Pattern 3
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.963445 Composed by Cristiano Vecchi…
(+)
Piano Solo - Level 2 - Digital Download SKU: A0.963445 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score. 6 pages. Cristiano Vecchi #5309951. Published by Cristiano Vecchi (A0.963445). A pattern of five notes in progression harmonized by latin jazz flavoured chords in a simple stride piano disposition, an effective exercise to achieve melodic coherence in improvisation.Twelve transpositions for a very useful practice!My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99
1.82 €
#
Piano seul
#
Cristiano Vecchi
#
Five Notes Pattern 3
#
Cristiano Vecchi
#
SheetMusicPlus
Five Notes Pattern 9
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.963459 Composed by Cristiano Vecchi…
(+)
Piano Solo - Level 2 - Digital Download SKU: A0.963459 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score. 6 pages. Cristiano Vecchi #5709097. Published by Cristiano Vecchi (A0.963459). A pattern of five notes in chromatic descendent progression harmonized with latin flavoured jazz chords, an effective exercise to achieve melodic coherence in improvisation.Twelve transpositions for a very useful practice!My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99
1.82 €
#
Piano seul
#
Cristiano Vecchi
#
Five Notes Pattern 9
#
Cristiano Vecchi
#
SheetMusicPlus
Five Notes Pattern 4
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.963447 Composed by Cristiano Vecchi…
(+)
Piano Solo - Level 2 - Digital Download SKU: A0.963447 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score. 6 pages. Cristiano Vecchi #5310027. Published by Cristiano Vecchi (A0.963447). A pattern of five notes in progression harmonized by jazz chords, an effective exercise to achieve melodic coherence in improvisation.Twelve transpositions for a very useful practice!My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99
1.82 €
#
Piano seul
#
Cristiano Vecchi
#
Five Notes Pattern 4
#
Cristiano Vecchi
#
SheetMusicPlus
Five Notes Pattern 8
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.963456 Composed by Cristiano Vecchi…
(+)
Piano Solo - Level 2 - Digital Download SKU: A0.963456 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score. 6 pages. Cristiano Vecchi #5708685. Published by Cristiano Vecchi (A0.963456). A pattern of five notes in chromatic ascendent progression harmonized with latin flavoured jazz chords, an effective exercise to achieve melodic coherence in improvisation.Twelve transpositions for a very useful practice!My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99
1.82 €
#
Piano seul
#
Cristiano Vecchi
#
Five Notes Pattern 8
#
Cristiano Vecchi
#
SheetMusicPlus
Five Notes Pattern 7
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.963455 Composed by Cristiano Vecchi…
(+)
Piano Solo - Level 2 - Digital Download SKU: A0.963455 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score. 6 pages. Cristiano Vecchi #5362755. Published by Cristiano Vecchi (A0.963455). A pattern of five notes in progression harmonized with latin flavoured jazz chords, an effective exercise to achieve melodic coherence in improvisation.Twelve transpositions for a very useful practice!My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99
1.82 €
#
Piano seul
#
Cristiano Vecchi
#
Five Notes Pattern 7
#
Cristiano Vecchi
#
SheetMusicPlus
Five Ways to Play The 12-Bar Blues
Guitare notes et tablatures
Guitar - Level 3 - Digital Download SKU: A0.1334206 Composed by Danny Crocome. Arra…
(+)
Guitar - Level 3 - Digital Download SKU: A0.1334206 Composed by Danny Crocome. Arranged by Danny Crocome. 20th Century,Blues,Instructional,Jazz,Rock. Guitar Tab. 6 pages. Danny Crocome Music #920403. Published by Danny Crocome Music (A0.1334206). These series of 5 info sheets show guitarists 5 different ways of playing a traditional 12-bar blues sequence in the key of E Major, as follows:1. The classic 12-bar blues riff (used in many familiar blues/rock & roll tunes)2. A single note riff (built from the chord tones of the 12-bar blues pattern)3. An embellished version of the classic riff (using additional notes)4. A walking bassline variation of the pattern (with hammer-ons and passing notes)5. A walking bassline with syncopated upper register notes (as used by players like Stevie Ray Vaughan).Having a firm understanding of the underlying chord pattern of the blues, and the numerous variations guitarists can play over these changes, is essential for guitarists. This is an excellent resource for learning many of the tricks that blues guitarists use to get that distinctive blues sound and feel.
$9.99
9.15 €
#
Guitare notes et tablatures
#
Danny Crocome
#
Danny Crocome
#
roll tunes)
2
#
Five Ways to Play The 12-Bar Blues
#
Danny Crocome Music
#
SheetMusicPlus
Luna's Music
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1018184 Composed by Grace Odell. Ch…
(+)
Easy Piano - Level 1 - Digital Download SKU: A0.1018184 Composed by Grace Odell. Children,Classical,Contemporary,Instructional. Score. 3 pages. Grace Odell #623750. Published by Grace Odell (A0.1018184). Six delightful, short, easy, quirky pieces in mostly five finger positions. None are longer than two lines of music, and they progress in difficulty. Includes sharps, quarter notes, half notes, whole notes, and eighth notes. 1. Peaceful Birds 2. Elephant Ballerina 3. Dreaming (includes moving up the keyboard in a pattern) 4. A Black and White Movie 5. Car Ride in the Countryside (includes LH chords that move around in a pattern) 6. Fancy Dancy (contrapuntal but still in 5-finger position).
$7.00
6.41 €
#
Piano Facile
#
Grace Odell
#
Luna's Music
#
Grace Odell
#
SheetMusicPlus
Easy Piano Warmups (Group 1)
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.490730 Composed by Timothy Sullivan…
(+)
Easy Piano - Level 1 - Digital Download SKU: A0.490730 Composed by Timothy Sullivan. Instructional. Score. 6 pages. SullivanWorks #106454. Published by SullivanWorks (A0.490730). For absolute beginners! Easy Piano Exercises build good habits from 'day one.' All five fingers stay in place, without crossings or substitutions, moving smoothly up and down the white piano keys. Options in the score provide for separate hand practice as well as playing with hands two octaves apart. Easy Piano Warmups develop coordination, critical listening, finger strength and agility. Easy Warmup Patterns build slowly and consistently, establishing a familiar pattern that gradually increases physical and aural playing and listening skills. Warmup 1: Parallel Pattern; Warmup 2: Forward Reverse Pattern LH, RH; Patterns 3 and 4 are in Two Speeds, LH, RH Quarter notes Eighth notes. The gradually increasing challenge keeps players engaged and gratified by their progress.
$2.00
1.83 €
#
Piano Facile
#
Timothy Sullivan
#
Easy Piano Warmups
#
SullivanWorks
#
SheetMusicPlus
Three Poetics for Clarinet and Trombone
Clarinette, Trombone (duo)
Instrumental Duet Clarinet,Instrumental Duet,Trombone - Level 4 - Digital Download SKU:…
(+)
Instrumental Duet Clarinet,Instrumental Duet,Trombone - Level 4 - Digital Download SKU: A0.755341 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 26 pages. Sy Brandon #6676423. Published by Sy Brandon (A0.755341). This composition consists of three movements that are influenced by poetic forms. I. Shadorma - A shadorma has 6 line stanzas where the lines have a syllable count of 3,5,3,3,7,5 respectively. The syllable count was translated into meter therefore creating 3/8, 5/8, two measures of 3/8, 7/8, and 5/8 resulting in 6 measure phrases. II. Cinquain - A cinquain is an American Poem invented by Adelaide Crapsey. It is five lines long and uses a syllable count of 2,4,6,8,2 to determine the line breaks. Three possible variants are mirror 2,4,6,8,2,4,6,8,2; butterfly 2,3,6,8,2,2,4,6,8,2; and reversal 2,8,6,4,2. Mirror and reversal are used in this movement therefore creating a pattern of 2,4,6,8,2,8,6,4,2. The syllable count is reflected in the number of notes in each phrase. III. Bantu - The bantu originated from Swahili speakers therefore incorporating the idea of call and response. The stanzas are couplets where the first line is more metaphorical and the second line more concrete. Call and response between each instrument permeates this movement with alternations of which instrument is the leading voice.
$9.99
9.15 €
#
Clarinette, Trombone (duo)
#
Sy Brandon
#
butterfly 2,3,6,8,2,2,4,6,8,2
#
Three Poetics for Clarinet and Trombone
#
Sy Brandon
#
SheetMusicPlus
The Violin Teacher's Toolkit
Violon
Violin Solo - Level 2 - Digital Download SKU: A0.885661 Composed by Heather Figi. A…
(+)
Violin Solo - Level 2 - Digital Download SKU: A0.885661 Composed by Heather Figi. Arranged by Heather Figi. Instructional. 70 pages. Music for Young Violinists #3139387. Published by Music for Young Violinists (A0.885661). How many times have you explicitly given an assignment to a student and they come back the next week unable to replicate the teaching goals?Having taught the violin for 20 years, this was a familiar scenario for me, and it led to the creation of the materials in the Teacher’s Toolkit collection from Music for Young Violinists. This resource will help students practice the correct way independently so they achieve optimal results with their hard work and home practice time.You can download a sample from this collection of the Bach Double Concerto subdivided into sixteenth notes by filling out the contact form on the HOME page or FREEBIES page: https://www.musicforyoungviolinists.com/This 70 page *eBook contains the following materials:1- Nine Progressive Sight Reading Exercises + Five Step Approach to Teaching Sight Reading Chart2- Eight Scales & Twinkles in the Keys of C & G, D & A, Bb & F, A & E Major (organized in pairs to teach correlating finger patterns)​3- Subdivision Worksheets & Practice Guides:May SongDona Nobis Pacem (with fingerings & without fingerings)Concerto No. 2 in D Major, 3rd Mvmt., F. Seitz, (Measures 68-83)Concerto in D Minor, Mvmt. I, J.S. Bach4- Composition, Third Position, Ring Tones, Visual Formatting, Solfège, High/Low 2nd Fingers, Rondo Form Puzzle & Staff Paper:Twinkle, Twinkle Little Star & May Song Comparison WorksheetThird Position Study SheetRing, Ring, Ring (Ringtone Study for Violinists)La Folia ThemeDo-Re-Mi SongStudy for High & Low 2nd FingersMartini Gavotte PuzzleStaff Paper (5 Sizes)5- Notes6. Free Charts & Materials - The materials in this portion of The Violin Teacher's Toolkit are not under copyright protection as the rest of this collection. Violin teachers can print as many copies as they need of the resources included here in the Free Charts & Materials section for use in educational settings. All of these materials are also available on the M4YV FREEBIES page (https://www.musicforyoungviolinists.com/)Staff Paper (various sizes)FlashcardsAdd-a-note scales: A Major & G Major Chart: How to Sight Read*Chart: 15 Tips to Optimize Violin Practice *Chart: How to Teach Violin: Solve Problems Strategically with Senses and Brain Hemispheres *Charts: How to Buy a Used Violin & Quality Inspection Checklist*Charts: Finger Patterns*Chart: Quick Tip for Relieving Performance Nerves​* Correlating tutorial videos are available on the Music for Young Violinists website and YouTube channel. Use the search bar to locate specific videos.​* Please note this eBook is a digital download and no physical item will be sent. Once you order this collection, you will be re-directed to a link that allows you to download the Teacher's Toolkit and print it out from the convenience of home.A friendly reminder that integrity starts with you.I offer a very generous bulk discount if you need more than a single copy of this product.
$30.00
27.49 €
#
Violon
#
Heather Figi
#
Heather Figi
#
The Violin Teacher's Toolkit
#
Music for Young Violinists
#
SheetMusicPlus
March of the Enchanted Toys
Percussion Ensemble Sleigh Bells,Woodblock,Xylophone - Level 1 - Digital Download SKU: …
(+)
Percussion Ensemble Sleigh Bells,Woodblock,Xylophone - Level 1 - Digital Download SKU: A0.1323033 Composed by Brian L. Monroe. Children,Christmas,Holiday,Instructional. 28 pages. BLM Music Publications (https://brianmonroemusic.com) #911304. Published by BLM Music Publications (https://brianmonroemusic.com) (A0.1323033). About the PieceT'was the day after Christmas and magic was in the air.The toys had been played with and were thrown about without care.  but with a bell's magic jingle, they suddenly came alive,and moved to gather three, four, then five.  They began to march in an enchanted paradeKeeping good time like a well-trained brigade.They continued their hike around the tree with prideso festive and happy just to be free and alive.But the magic was waining with the jingle of bellsand the toys disbanded and said their farewells,Their magic had run out, at least for this yearIt would be 365 days before the March of the Enchanted Toys would again reappear. March of the Enchanted Toys is a work for beginning-level percussionists.  A simple melody and rhythmic patterns make it easier to teach and learn.  In addition, the score and parts are all written with alpha notes, making it easier for young students to read the notes that are not usually in their range.     Instrumentation:  For 6-12 Percussionists 4 Bells Sets (written for beginning percussion kits),  Xylophone,  Triangle,  Ratchet,  Vibraslap,  Wood Block,  Bass Drum,  Sleighbells,  Temple Blocks (5)If you wish to play this with reduced instrumentation, Use the instruments in this order: 4 Bells  Xylophone  Sleighbells  Ratchet/Vibraslap (played by 1 player) Temple Blocks Triangle Wood Blocks.
$15.00
13.74 €
#
Brian L
#
March of the Enchanted Toys
#
BLM Music Publications
#
SheetMusicPlus
Endless Routes
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.1153134 Composed by Joseph Hasper…
(+)
Concert Band - Level 3 - Digital Download SKU: A0.1153134 Composed by Joseph Hasper. 20th Century,Classical,Contemporary,Contest,Festival,Instructional. Score and parts. 93 pages. Joseph Hasper #753375. Published by Joseph Hasper (A0.1153134). There are five main sections in this piece, each lasting exactly 21 measures. Why this unlikely number? I chose this number because the percussion parts, which are the driving force behind the piece, are based repeating patterns of 6, 7, and 8 eighth notes. It works out that these patterns only line up every 168 half-beats—which happens only at the end of 21 measures! The title for this piece was provided by Armstrong High School student Aaron Baker and was used as inspiration for the work. The phrase “endless routes†guided my decision to have several main themes instead of just one or two. The themes are widely different in character but share the feature that they each go to the same place—the very last half of the last beat of every twenty-first measure. The Minimalist style of music often features short musical fragments that are repeated many times in different combinations, and I used that technique to create a seemingly “endless†effect in the percussion parts. The percussion parts also use a colotomic structure, a technique often used in gamelan music of the far East. Unlike Western music, which generally has a strong accent on the first beat of a phrase, colotomic music accents the last beat of a phrase. You can hear this in Endless Routes when the percussion parts all become aligned and hit a simultaneous accent at the end of each section. This piece was commissioned and premiered by the Armstrong High School, under the direction of Jason Venesky. Mr. Venesky is a veteran teacher with over twenty years of experience in the Armstrong School District. He is a graduate of Carnegie Mellon University with a Bachelor of Fine Arts in Music Performance (Tuba) and Music Education Certification and an active performer as Principal Tuba for the Butler County Symphony Orchestra; tubaist for the Armstrong Brass Quintet and Windsor Brass Quintet; and Bass Trombonist for the Gibbons Big Band. Mr. Venesky is currently Instructor of Tuba at Grove City College and Music Director for the Kittanning Community Band. Includes a full score and complete set of parts.
$40.00
36.65 €
#
Orchestre d'harmonie
#
Joseph Hasper
#
Endless Routes
#
Joseph Hasper
#
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
21.98 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
