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--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
In Tempo Music
Sheetmusicplus
Non classifié
839
Piano & claviers
Piano seul
612
Piano Facile
107
Piano, Voix
92
Piano, Voix et Guitare
68
Orgue
66
Piano (partie séparée)
40
Instruments en Do
18
1 Piano, 4 mains
14
Accompagnement Piano
10
2 Pianos, 4 mains
10
Piano Trio: piano, violon, violoncelle
8
Clavier
3
Accordéon
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Orgue, Piano (duo)
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Clavecin
1
Piano grosses notes
1
1 Piano, 6 mains
1
+ 14 instrumentations
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Guitares
Ukulele
328
Guitare
322
Mandoline
268
Guitare notes et tablatures
90
Guitare (partie séparée)
74
Basse electrique
13
Banjo
6
Ligne De Mélodie, (Paroles) et Accords
6
Piano, Guitare (duo)
5
3 Guitares (trio)
2
4 Guitares (Quatuor)
2
2 Guitares (duo)
2
Ensemble de guitares
2
Dulcimer
1
2 Dulcimers (duo)
1
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Voix
Chorale SATB
159
Chorale 3 parties
49
Chorale TTBB
46
Chorale 2 parties
32
Chorale SSAA
29
Chorale Unison
16
Voix duo, Piano
10
Voix seule
4
Voix haute
3
Voix Soprano, Piano
3
Voix Baryton, Piano
3
Voix Tenor
2
Voix Alto, Piano
2
Chorale SSAATTBB
1
Chorale
1
Voix Tenor, Piano
1
Voix duo
1
+ 12 instrumentations
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Vents
Ocarina
263
Flûte à bec Soprano
254
Saxophone (partie séparée)
192
Harmonica
191
Flûte à bec Alto
183
Quatuor de Saxophones: 4 saxophones
122
2 Saxophones (duo)
116
Clarinette
81
Flûte, Hautbois, Clarinette, Basson
79
Flûte traversière et Piano
61
2 Clarinettes (duo)
60
Saxophone, Clarinette (duo)
57
Saxophone Alto et Piano
49
2 Flûtes traversières (duo)
46
Clarinette et Piano
44
Clarinette, Violon (duo)
41
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
39
Clarinette, Trompette (duo)
34
Hautbois, Piano (duo)
33
Flûte à bec Alto, Piano
30
Quatuor de Clarinettes: 4 clarinettes
30
Saxophone Tenor et Piano
27
2 Hautbois (duo)
24
Flûte, Clarinette (duo)
24
Flûte, Violon
22
Clarinette et Alto
21
Flute (partie séparée)
21
Saxophone Soprano et Piano
20
Flûte, Saxophone (duo)
20
Hautbois, Flûte
19
Hautbois, Clarinette (duo)
19
Flûte traversière
19
Hautbois, Basson (duo)
19
Flûte, Alto (duo)
17
Quintette de Saxophone: 5 saxophones
16
Clarinette (partie séparée)
16
3 Saxophones (trio)
16
Flûte, Trompette (duo)
15
Quatuor de Flûtes : 4 flûtes
15
Ensemble de Clarinettes
14
Trio de Flûtes: 3 flûtes
10
Ensemble de Flûtes
10
Ensemble de saxophones
10
Saxophone Alto
9
Flûte, Clarinette, Piano (trio)
8
3 Clarinettes (trio)
7
Cor anglais, Piano
6
Saxophone Tenor
6
Quintette de Clarinettes: 5 clarinettes
6
Flûte, Violoncelle, Piano (trio)
5
Clarinette Basse, Piano
5
Saxophone Baryton, Piano
5
Flûte, Hautbois, Piano (trio)
4
2 Flûtes traversières, Piano
4
2 Clarinettes, Piano
4
Flûte, Violon et Violoncelle
4
Hautbois
4
Flûte, Clarinette et Basson
4
3 Flûtes à bec (trio)
4
Flûte, Violon, Piano
3
Hautbois (partie séparée)
3
Flûte, trombone et piano
3
Clarinette, Violoncelle, Piano (trio)
2
Flûte, Hautbois (duo)
2
Clarinette Basse
2
Clarinette, trompette et piano
2
Flûte, Violon, Violoncelle et Piano
2
Hautbois, violon (duo)
2
Flûte à Bec
2
Piccolo, Piano
2
Flûte, Alto et Piano
2
Flûte, Violoncelle
2
Clarinette, Saxophone, Piano
1
Flûte traversière, Orchestre
1
2 Hautbois, 2 Cors et 2 Bassons
1
2 Cors Anglais Et Pianoforte
1
Flûte, Hautbois, Clarinette (trio)
1
Clarinette, Harpe (duo)
1
Flûte traversière, Orgue (duo)
1
Saxophone et Harpe
1
Ensemble à vent
1
Flûte à bec Soprano, Piano
1
Flûte, Hautbois, Basson
1
Clarinette, Basson (duo)
1
Quintette de Flûte : 5 flûtes
1
+ 80 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
159
Trompette (partie séparée)
129
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
64
Quatuor de Cuivres : 2 trompettes, trombone, tuba
63
Trompette, Piano
43
Trompette, Saxophone (duo)
40
Trombone et Piano
38
Cor (partie séparée)
27
2 Trombones (duo)
25
2 Trompettes (duo)
23
Tuba (partie séparée)
23
Quatuor de Cuivres
23
Trompette, Trombone (duo)
22
Trompette
21
Cor et Piano
19
Tuba et Piano
14
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Trombone
8
Cor anglais, Piano
6
Euphonium, Piano (duo)
6
Trio de Cuivres
6
Cor
6
Ensemble de Trombones
5
Tuba
4
3 Trombones (trio)
3
Quatuor de cuivres: 4 trombones
3
2 Cors (duo)
3
Quatuor de cuivres: 4 cors
3
Quatuor de cuivres: 4 trompettes
3
Trompette, Violoncelle et Piano
3
Quatuor de cuivres: 2 trompettes, 2 trombones
1
2 Cors Anglais Et Pianoforte
1
Trombone, Orgue
1
Trombone basse
1
2 Euphoniums et 2 Tubas
1
Ensemble de Cors
1
Cor et Orgue
1
Cor et Harpe
1
2 Tubas (duo)
1
+ 34 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
241
Violon et Piano
144
Contrebasse (partie séparée)
46
Violon
39
Violoncelle, Piano
38
Alto, Piano
35
Violon, Violoncelle (duo)
33
2 Violons (duo)
32
2 Violoncelles (duo)
28
Violon, Alto (duo)
24
2 Altos (duo)
24
Harpe
20
Violon (partie séparée)
11
Trio à Cordes: 2 violons, violoncelle
11
Trio à Cordes: violon, alto, violoncelle
10
Violoncelle
10
Alto seul
8
Contrebasse, Piano (duo)
7
Contre Basse
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
Alto (partie séparée)
5
Violoncelle, Contrebasse (duo)
4
Alto, Violoncelle (duo)
3
Quatuor à cordes: 4 violons
3
Harpe et mandoline
3
2 Harpes (duo)
2
Trio à Cordes: 3 violoncelles
2
4 Violoncelles
2
Trio à cordes: 3 violins
2
Violoncelle (partie séparée)
2
2 Contrebasses (duo)
1
Violon, Basson (duo)
1
Violoncelle, Orchestre
1
Violon, Orgue
1
Violon, Clarinette, Piano (trio)
1
Alto, Orgue
1
Ensemble de Violons
1
Alto et Harpe
1
Violoncelle, Orgue
1
Autoharp
1
Harpe, Violon (duo)
1
Violon, Trompette et Piano
1
Ensemble d'Altos
1
Ensemble de Violoncelles
1
Harpe, Violoncelle (duo)
1
+ 40 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
301
Ensemble Jazz
173
Orchestre à Cordes
78
Ensemble de cuivres
51
Orchestre
44
Batterie (partie séparée)
36
Cloches
34
Jazz combo
17
Orchestre de chambre
15
Ensemble de Percussions
10
Batterie
9
Percussion (partie séparée)
2
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Fanfare
2
Marimba
2
2 Xylophones
1
Piano et Orchestre
1
Xylophone, Piano
1
Orchestre, Violon
1
+ 14 instrumentations
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TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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CORNEMUSE
CORNET
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DIDGERIDOO
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EUPHONIUM
FANFARE - BAND…
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FLUTE TRAVERSI…
FORMATION MUSI…
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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)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 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Autumnal Music
Alto, Piano
Viola and piano - easy to intermediate - Digital Download SKU: S9.Q21610 Duet fo…
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Viola and piano - easy to intermediate - Digital Download SKU: S9.Q21610 Duet for Viola and Piano. Composed by Barbara Heller. This edition: Sheet music. Viola Library. Downloadable. Duration 5:30. Schott Music - Digital #Q21610. Published by Schott Music - Digital (S9.Q21610). Autumn Music for viola and piano is dedicated to the pianist Maria Grazyna Kulka. The string part of the original version for cello and piano (Schott CB 265) has been reworked for the Kulka Duo. Autumn Music is of intermediate difficulty and suitable for advanced young string players wishing to extend their contemporary repertoire, as well as for performance in youth music competitions. After the Bb in bar 88 the fermata may be followed by a viola solo cadenza improvised or composed by the performer and ad libitum a little piano solo cadenza too, both leading into bar 89. These cadenzas may well develop musical material from the preceding bars, drawing on motifs and techniques already used in the piece; beyond that, no limits should be set to the performer’s inventive inspiration. The rhythm, tempo and length of the cadenza may be improvised afresh each time it is played.
$11.99
11.05 €
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Alto, Piano
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Barbara Heller
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Autumnal Music
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Schott Music - Digital
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SheetMusicPlus
In The Airplane Over The Sea
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.772272 By Neutral Milk Hotel…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.772272 By Neutral Milk Hotel. By Jeffery Nye Mangum. Arranged by Mitchell Drury. Contemporary. Score and parts. 4 pages. In Tempo Music #5982643. Published by In Tempo Music (A0.772272). String Quartet arrangement. Coordinating piano part also available separately.
$12.99
11.98 €
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Orchestre de chambre
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Neutral Milk Hotel
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Mitchell Drury
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In The Airplane Over The Sea
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In Tempo Music
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SheetMusicPlus
Stronger (What Doesn't Kill You)
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet - Advanced Intermediate - Digital Download By Kelly Clarkson. Arranged…
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String Quartet - Advanced Intermediate - Digital Download By Kelly Clarkson. Arranged by Mitchell Drury. Set of Parts. 8 pages. Published by In Tempo Music
All of our arrangements are made for gigging ensembles. They include measure numbers on every bar, rehearsal letters, and tempo indication. <br> <br> They are thoughtfully and precisely engraved for clarity and ease of reading.<br> <br> Each part on two pages.All of our arrangements are made for gigging ensembles. They include measure numbers on every bar, rehearsal letters, and tempo indication. <br> <br> They are thoughtfully and precisely engraved for clarity and ease of reading.<br> <br> Each part on two pages.
$15.00
13.83 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Kelly Clarkson
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Stronger
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In Tempo Music
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SheetMusicPlus
Quatre Fantasie: (wp) 2nd Horn in E-flat
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0014302_WPEH2 (wp) 2nd Horn in E-f…
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Concert Band - Digital Download SKU: AX.00-PC-0014302_WPEH2 (wp) 2nd Horn in E-flat. Composed by Scott Director. Instructional. World Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0014302_wpEH2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014302_WPEH2). UPC: 038081356198.Total and extreme development of a four-note motif was the catalyst for the creative seed. Including some contemporary compositional techniques woven within beautiful soaring melodic material generates a highly effective overture. This 'romp' grows into a full ensemble, rich with floating and flowing variations. The finale builds in tempo and grandeur taking our familiar theme and swirling it into a rousing and vibrant conclusion. A sure winner! (5:15).
$3.00
2.77 €
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Orchestre d'harmonie
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Scott Director
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Quatre Fantasie:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Quatre Fantasie: (wp) 1st Horn in E-flat
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0014302_WPEH1 (wp) 1st Horn in E-f…
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Concert Band - Digital Download SKU: AX.00-PC-0014302_WPEH1 (wp) 1st Horn in E-flat. Composed by Scott Director. Instructional. World Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0014302_wpEH1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014302_WPEH1). UPC: 038081356198.Total and extreme development of a four-note motif was the catalyst for the creative seed. Including some contemporary compositional techniques woven within beautiful soaring melodic material generates a highly effective overture. This 'romp' grows into a full ensemble, rich with floating and flowing variations. The finale builds in tempo and grandeur taking our familiar theme and swirling it into a rousing and vibrant conclusion. A sure winner! (5:15).
$3.00
2.77 €
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Orchestre d'harmonie
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Scott Director
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Quatre Fantasie:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Cheap Thrills
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet - Advanced Intermediate - Digital Download By Sia feat. Sean Paul. A…
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String Quartet - Advanced Intermediate - Digital Download By Sia feat. Sean Paul. Arranged by Mitchell Drury. Set of Parts. 4 pages. Published by In Tempo Music
About 2:15 in length. Measure numbers on every measure. Rehearsal letters. Each part on a single page. Key of A.About 2:15 in length. Measure numbers on every measure. Rehearsal letters. Each part on a single page. Key of A.
$15.00
13.83 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Sia feat
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Mitchell Drury
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Cheap Thrills
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In Tempo Music
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SheetMusicPlus
Pm's Love Theme (from Love Actually)
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet - Intermediate - Digital Download By Craig Armstrong. Arranged by Mi…
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String Quartet - Intermediate - Digital Download By Craig Armstrong. Arranged by Mitchell Drury. Set of Parts. 4 pages. Published by In Tempo Music
Always a hit at weddings and around the holidays!<br> <br> About 2:30 in length. Key of G. Measure numbers on every bar. Rehearsal letters. Each part on a single page. Playable as trio. Additional instrumental parts available separately (harp, piano).Always a hit at weddings and around the holidays!<br> <br> About 2:30 in length. Key of G. Measure numbers on every bar. Rehearsal letters. Each part on a single page. Playable as trio. Additional instrumental parts available separately (harp, piano).
$15.00
13.83 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Craig Armstrong
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Pm's Love Theme
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In Tempo Music
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SheetMusicPlus
Ewald: Quintet No. 1 for Brass Instruments
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet - Advanced Intermediate - Digital Download Composed by Victor Ewald (1860…
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Brass Quintet - Advanced Intermediate - Digital Download Composed by Victor Ewald (1860-1935). Arranged by Edited by Roar Kvam. Romantic Period. Score, Set of Parts. 102 pages. Published by KVAMusic Edition
27 November 1860 - 16 April 1935 Ewald was a Russian composer of music, mainly for conical brass instruments.He was born in Saint Petersburg and died in Leningrad. He also collected andpublished Russian folk songs. Ewald?s professional life, like that of many of his musicalcontemporaries, was in an entirely different field; that of a civil engineer, in which heexcelled, being appointed in 1900 as professor and manager of the Faculty ofConstruction Materials at the Institute of Civil Engineers. Brass players however areindebted to him for something very different ? a series of quintets which have becomea staple of the repertoire and which represent almost the only, and certainly the mostextended examples of original literature in the Romantic style. Ewald?s formal musicaltraining began in 1872 when he enrolled at the St Petersburg Conservatory at the ageof twelve. Founded in 1861 by Anton Rubenstein, this institution was the first of itskind in Russia and it was here that Ewald received lessons in cornet, piano, horn,cello, harmony and composition.As an adult he worked alongside fellow musicalnationalists known collectively as the Mighty Handful?Borodin, Mily Balakirev, César Cui, Modest Mussorgsky and the most famous of all, Nicolai Rimsky-Korsakov. All of these men had ?day jobs? in non-musical fields. Ewald?s contributions as a composer reflected an abiding love for brass instruments for which he wrote his quintets scored originally for two cornets, altohorn, baritone horn and tuba. I've edited these four quartets using Ewald's original instrumentation, but thereare also separate substitute parts for the modern brass quintet (2 trumpets, horn in F,trombone and tuba).27 November 1860 - 16 April 1935
Ewald was a Russian composer of music, mainly for conical brass instruments.He was born in Saint Petersburg and died in Leningrad. He also collected andpublished Russian folk songs. Ewald?s professional life, like that of many of his musicalcontemporaries, was in an entirely different field; that of a civil engineer, in which heexcelled, being appointed in 1900 as professor and manager of the Faculty ofConstruction Materials at the Institute of Civil Engineers. Brass players however areindebted to him for something very different ? a series of quintets which have becomea staple of the repertoire and which represent almost the only, and certainly the mostextended examples of original literature in the Romantic style. Ewald?s formal musicaltraining began in 1872 when he enrolled at the St Petersburg Conservatory at the ageof twelve. Founded in 1861 by Anton Rubenstein, this institution was the first of itskind in Russia and it was here that Ewald received lessons in cornet, piano, horn,cello, harmony and composition.As an adult he worked alongside fellow musicalnationalists known collectively as the Mighty Handful?Borodin, Mily Balakirev,
César Cui, Modest Mussorgsky and the most famous of all, Nicolai Rimsky-Korsakov.
All of these men had ?day jobs? in non-musical fields.
Ewald?s contributions as a composer reflected an abiding love for brass
instruments for which he wrote his quintets scored originally for two cornets, altohorn, baritone horn and tuba.
I've edited these four quartets using Ewald's original instrumentation, but thereare also separate substitute parts for the modern brass quintet (2 trumpets, horn in F,trombone and tuba).
$28.00
25.81 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Victor Ewald (1860-1935)
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Edited by Roar Kvam
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Ewald: Quintet No. 1 for Brass Instruments
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KVAMusic Edition
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SheetMusicPlus
Viva la musica
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1321966 Composed by Michael Praeto…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1321966 Composed by Michael Praetorius. Arranged by Bettina Schipp. Early Music,Historic,Medieval,Renaissance. Individual part. 2 pages. Songbooks.info #910383. Published by songbooks.info (A0.1321966). These Medieval and Renaissance Songs were arranged for Guitar fingerpicking. They were written in the well-known tablature for string instruments as well as in classical musical notation - for slightly intermediate and advanced guitarists. The songs were recorded at a slow tempo and with a metronome in the background. Have fun making music...!Diese Lieder aus dem Mittelalter und der Renaissance wurden für das Fingerpicking mit der Gitarre arrangiert. Sie wurden in der bekannten Tabulatur für Saiteninstrumente sowie in der klassischen Notenschrift notiert - für leicht fortgeschrittene und fortgeschrittene GitarristInnen. Die Lieder wurden in einem langsamen Tempo und mit einem Metronom im Hintergrund aufgenommen. Viel Spaß beim Musizieren...!
$2.49
2.3 €
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Guitare
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Michael Praetorius
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Bettina Schipp
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Viva la musica
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songbooks.info
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SheetMusicPlus
Anthology of Music Reading I
Chorale Unison
Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.1003151 Composed by Onde…
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Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.1003151 Composed by Onder Ozkoc. Arranged by Onder Ozkoc. 20th Century,Instructional,Standards. Octavo. 89 pages. Onder Ozkoc #6733919. Published by Onder Ozkoc (A0.1003151). This study includes 60 pieces selected from different periods which are used with their original accompaniments, was prepared in order to read music (solfeggio), one of the most important elements in music education, using examples selected from music literature in an enjoyable way. Care has been taken to ensure that the selected music displays color and diversity in terms of technique, style, and geography, and it aims to be an eye-opener. The pieces are arranged according to the level, and when new topics and elements are used, they are indicated on each piece. Dynamics were not used in the first 10 pieces while trying to preserve to the original dynamics used in the music, minor changes were made where necessary. When possible, the original tempos of the music have been kept, but the tempo of some instrumental music has been reconsidered for this anthology and given as an approximation (circa: ca.). The musical slurs used in the pieces show the musical sentences and the breathing places. Parts of the anthology pieces might be played or studied in different ways.
$10.00
9.22 €
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Chorale Unison
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Onder Ozkoc
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Onder Ozkoc
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Anthology of Music Reading I
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Onder Ozkoc
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SheetMusicPlus
She Walks in Beauty
Chorale SATB
Mixed choir (SATB) a cappella - Digital Download Composed by Matthew Brown. This edit…
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Mixed choir (SATB) a cappella - Digital Download Composed by Matthew Brown. This edition: choral score. Schott Choral Music. Downloadable. Duration 6 minutes 40 seconds. Schott Music - Digital #Q21575. Published by Schott Music - Digital
Das Liebesgedicht von Lord Byron lebt in dieser Vertonung durch feinste dynamische Unterschiede und spharische Klange. Der Komponist arbeitet mit Temposchwankungen und einer sehr expliziten Ausdeutung des fruhromantischen Textes.Das Liebesgedicht von Lord Byron lebt in dieser Vertonung durch feinste dynamische Unterschiede und spharische Klange. Der Komponist arbeitet mit Temposchwankungen und einer sehr expliziten Ausdeutung des fruhromantischen Textes.
$4.99
4.6 €
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Chorale SATB
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Matthew Brown
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She Walks in Beauty
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Schott Music - Digital
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SheetMusicPlus
Tsarina the Musical Vocal Music Score
Piano, Voix
Composed by Deborah Johnson, Wayland Pickard co-writer on "How Did We Get Here.&q…
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Composed by Deborah Johnson, Wayland Pickard co-writer on "How Did We Get Here.". Arranged by Deborah Johnson. Musicals, World, Folk, Pop. Lead Sheet. 90 pages. Published by DJWorks Music
With 90 pages you will love playing and singing through all the songs in this entire musical! It includes all vocal parts (solos, duets, chorus) with chords (lead sheet) including tempo markings and instrumental tags.<br> The musical is also available for licensing (live, virtual & streaming) with all instrumental tracks, SFX, script, directors notes and even a separate historical study guide for students. Perfect for schools and community theatre organizations. More information on https://TsarinaTheMusical.com <br> <br> STORY: The love of Nicholas (Nick) & Alexandra (Alix) endures in the face of political intrigue, jealousy, greed and revolution. TSARINA takes us through time, beginning with their love letters and concluding with their fateful end. Historical events meet an expanded fictional story line with a message of strength and hope in the face of fear and upheaval. TSARINA is Les Misérables of the Russian Revolution. “Les Mis meets Dr. Zhivago.”With 90 pages you will love playing and singing through all the songs in this entire musical! It includes all vocal parts (solos, duets, chorus) with chords (lead sheet) including tempo markings and instrumental tags.<br> The musical is also available for licensing (live, virtual & streaming) with all instrumental tracks, SFX, script, directors notes and even a separate historical study guide for students. Perfect for schools and community theatre organizations. More information on https://TsarinaTheMusical.com <br> <br> STORY: The love of Nicholas (Nick) & Alexandra (Alix) endures in the face of political intrigue, jealousy, greed and revolution. TSARINA takes us through time, beginning with their love letters and concluding with their fateful end. Historical events meet an expanded fictional story line with a message of strength and hope in the face of fear and upheaval. TSARINA is Les Misérables of the Russian Revolution. “Les Mis meets Dr. Zhivago.”
$45.99
42.4 €
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Piano, Voix
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Deborah Johnson, Wayland Pickard co-writer on "How Did We Get Here
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Deborah Johnson
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Tsarina the Musical Vocal Music Score
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DJWorks Music
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SheetMusicPlus
Tsarina the Musical Vocal-Piano Score
Piano, Voix
Composed by Deborah Johnson, Wayland Pickard co-writer on "How Did We Get Here&qu…
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Composed by Deborah Johnson, Wayland Pickard co-writer on "How Did We Get Here". Arranged by Deborah Johnson. Musicals, World, Folk, Pop. Piano Reduction, Score. 134 pages. Published by DJWorks Music
With 134 pages you will love playing and singing through all the songs in this entire grand musical! It includes all piano parts written out with chords, tempo markings and vocals. The musical is also available for licensing (live, virtual & streaming) with all instrumental tracks, SFX, script, directors notes and even a separate historical study guide for students. More information on https://TsarinaTheMusical.com <br> <br> STORY: The love of Nicholas (Nick) & Alexandra (Alix) endures in the face of political intrigue, jealousy, greed and revolution. TSARINA takes us through time, beginning with their love letters and concluding with their fateful end. Historical events meet an expanded fictional story line with a message of strength and hope in the face of fear and upheaval. TSARINA is Les Misérables of the Russian Revolution. “Les Mis meets Dr. Zhivago.”With 134 pages you will love playing and singing through all the songs in this entire grand musical! It includes all piano parts written out with chords, tempo markings and vocals. The musical is also available for licensing (live, virtual & streaming) with all instrumental tracks, SFX, script, directors notes and even a separate historical study guide for students. More information on https://TsarinaTheMusical.com <br> <br> STORY: The love of Nicholas (Nick) & Alexandra (Alix) endures in the face of political intrigue, jealousy, greed and revolution. TSARINA takes us through time, beginning with their love letters and concluding with their fateful end. Historical events meet an expanded fictional story line with a message of strength and hope in the face of fear and upheaval. TSARINA is Les Misérables of the Russian Revolution. “Les Mis meets Dr. Zhivago.”
$59.99
55.31 €
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Piano, Voix
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Deborah Johnson, Wayland Pickard co-writer on "How Did We Get Here"
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Deborah Johnson
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Tsarina the Musical Vocal-Piano Score
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DJWorks Music
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SheetMusicPlus
Nocturne In E-Flat Major, Op. 9, No. 2
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1143547 By Frederic Chopin. By Fred…
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Piano Solo - Level 4 - Digital Download SKU: A0.1143547 By Frederic Chopin. By Frederic Chopin. Arranged by Frederic Chopin. Classical,Contemporary,Romantic Period. Score. 3 pages. Unimusic Academy (Academia Unimusica) #743864. Published by Unimusic Academy (Academia Unimusica) (A0.1143547). Chopin composed his best-known Nocturne in Eâ™ major, Op. 9, No. 2 when he was around twenty years old. This well-known nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. It is 34 measures long and written in 12 8 meter, having a similar structure to a waltz. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). The nocturne opens with a legato melody, mostly played piano (quietly), containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato. A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz-like accompaniment gently emphasizes the 12 8 meter, 12 beats to the measure subdivided into four groups of 3 beats each.
$8.00
7.38 €
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Piano seul
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Frederic Chopin
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Frederic Chopin
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Nocturne In E-Flat Major, Op. 9, No. 2
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Unimusic Academy
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SheetMusicPlus
Will You Come In?
Violon et Piano
Instrumental Solo,Piano,Violin - Level 3 - Interactive Download SKU: A0.1403903 By …
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Instrumental Solo,Piano,Violin - Level 3 - Interactive Download SKU: A0.1403903 By Traditional Fiddle Tunes. By Trad. Arranged by Heather M Music. This edition: Interactive Download. Folk,World. Individual part. 4 pages. Duration 72. Heather Mueller Music #6QvQnhByaf9hebmUaG2B9Y. Published by Heather Mueller Music (A0.1403903). Key: D major.Title: Will You Come In? Type/Genre: Slip Jig (Irish) Arranger: Heather M Music Composer: Trad (Traditional) Description: Immerse yourself in the enchanting melodies of Will You Come In?, a graceful slip jig deeply rooted in the musical traditions of Ireland. This captivating tune, known for its elegant melodies and lively rhythms, captures the essence of Irish music and evokes images of joyous gatherings and spirited dancers. Whether you're playing at a session or exploring the rich tapestry of Irish musical heritage, Will You Come In? invites you to join in the spirited celebration of Celtic tradition. Let the lively tempo and dynamic energy of this slip jig transport you to the heart of Ireland's musical landscape. Key Features: Interactive Sheet Music: Seamlessly adjust the Key, Tempo, and instrument volumes using our intuitive sheet music interface. Melody and Basic Accompaniment: Our comprehensive sheet music includes the melody along with basic accompaniment and guitar chords, providing a solid foundation for musicians of all levels.
$2.99
2.76 €
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Violon et Piano
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Traditional Fiddle Tunes
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Heather M Music
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Will You Come In?
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Heather Mueller Music
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SheetMusicPlus
Eel In The Sink
Violon et Piano
Instrumental Solo,Piano,Violin - Level 3 - Interactive Download SKU: A0.1402861 By …
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Instrumental Solo,Piano,Violin - Level 3 - Interactive Download SKU: A0.1402861 By Traditional Fiddle Tunes. By Trad. Arranged by Heather M Music. This edition: Interactive Download. Folk,World. Individual part. 4 pages. Duration 48. Heather Mueller Music #2NJGxF4Glg9CSN4sKx8CaE. Published by Heather Mueller Music (A0.1402861). Key: G major.Title: Eel In The Sink Type/Genre: Reel (Irish) Arranger: Heather M Music Composer: Trad (Traditional) Description: Immerse yourself in the lively rhythms of Eel In The Sink, a spirited reel deeply rooted in the musical traditions of Ireland. This energetic tune, known for its catchy melodies and infectious rhythms, captures the essence of Irish music and evokes images of lively sessions and gatherings. Whether you're playing at a session or honing your skills at home, Eel In The Sink invites you to join in the spirited celebration of Celtic tradition. Let the lively tempo and dynamic energy of this reel transport you to the heart of Ireland's musical landscape. Key Features: Interactive Sheet Music: Seamlessly adjust the Key, Tempo, and instrument volumes using our intuitive sheet music interface. Melody and Basic Accompaniment: Our comprehensive sheet music includes the melody along with basic accompaniment and guitar chords, providing a solid foundation for musicians of all levels.
$2.99
2.76 €
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Violon et Piano
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Traditional Fiddle Tunes
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Heather M Music
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Eel In The Sink
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Heather Mueller Music
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SheetMusicPlus
Woodwind Quintet sheet music: Sururu na Cidade (score & parts)
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1512486 By Francesco Leone. By Zequinha de Abreu. Arranged by Francesco Leone. Latin. 22 pages. Glissato Edizioni Musicali #1087505. Published by Glissato Edizioni Musicali (A0.1512486). Discover the lively rhythms and captivating melodies of Brazilian Chorinho with Sururu na Cidade, a brilliant composition by Zequinha de Abreu, the celebrated composer behind the iconic Tico Tico. This piece has been artfully arranged for Woodwind Quintet by Francesco Leone, targeting musicians of an intermediate skill level. The arrangement carefully balances the unique timbres of each instrument, offering an engaging ensemble experience that faithfully represents the spirit and charm of Chorinho music.This comprehensive ebook package provides the full score and a set of seven parts, including Flute, Oboe, B♭ Clarinet, French Horn in F, and Bassoon, ensuring a rich and dynamic range of sounds. To accommodate varying ensemble configurations, alternative parts for E♭ Horn and B♭ Bass Clarinet (as a substitute for Bassoon) are also included, offering flexibility and adaptability to groups of different compositions.Enhance your preparation and performance with an audio demo available at www.glissato.it. This valuable resource allows musicians to hear a professional rendition of the arrangement, serving as an inspiration and guide for tempo, dynamics, and overall interpretation.In addition to the musical scores, this edition is augmented with informative resources in multiple languages: English, French, German, Spanish, Italian, and Portuguese. These materials delve into the rich history of Chorinho music, provide insights into Zequinha de Abreu's life and works, and offer contextual information about Sururu na Cidade, enriching the musician's understanding and connection to the piece.Whether you're a woodwind musician looking to explore the vibrant world of Brazilian music, a music teacher in search of compelling educational content, or simply a fan of Chorinho, this arrangement of Sururu na Cidade for Woodwind Quintet by Francesco Leone is a perfect addition to your musical library. Engage with the joyous and intricate world of Chorinho, and let this arrangement transport you and your audience to the heart of Brazil's musical heritage.- Holzblasinstrumente-Noten, partitions pour instruments à vent, partituras para instrumentos de viento madera, partituras para instrumentos de sopro de madeira, spartiti per strumenti a fiato, üflemeli çalgılar için notalar, nuty na instrumenty dęte drewniane, noter for treblåseinstrumenter, noter för träblåsinstrument, 목관악기 악보, 木管楽器の楽譜 -.
$15.99
14.74 €
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Francesco Leone
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Francesco Leone
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Woodwind Quintet sheet music: Sururu na Cidade
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Glissato Edizioni Musicali
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SheetMusicPlus
Canon in D
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1385858 Composed by Johann Pachelbel. Arranged by Stephen Levintow. Baroque,Standards,Wedding. 13 pages. Cypress Publishing #969800. Published by Cypress Publishing (A0.1385858). By far the best known work of early baroque master Johann Pachelbel, this piece has become one of the most popular pieces from the classical music tradition around the world. It is a particular favorite for wedding ceremonies, with its gradually shifting texture over an unchanging bass line. A full cadence every two bars makes it a perfect processional. Originally written for three violins and bass instrument, this arrangement has both the original notes and optional ossias in the 3rd part if desired to avoid the highest passages for viola. Suggestions for tempo, dynamics and articulation are included, as the original does not have any.CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites. The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.
$4.00
3.69 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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far the best known work of early baroque master Johann Pachelbel, this piece has become one of the most popular pieces from the classical music tradition around the world
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Johann Pachelbel
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Stephen Levintow
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Canon in D
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Cypress Publishing
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SheetMusicPlus
An American in Valencia - Trumpet Solo with Band (piano reduction)
Trompette, Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Rep…
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Repertoire, Recital. Piano Reduction, Solo Part. 39 pages. Published by Musica Nova USA
An American in Valencia was commissioned by the United States Army Band “Pershing’s Own” in Washington, DC in 1999. The Premiere Performance was May 22, 1999 at the Casa de Cultura in L’Alcudia (Valencia), Spain by Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English, Principal Trumpet the U. S. Army Band "Pershing's Own" as was the soloist.<br> <br> The piece is in three movements in a Spanish style suggesting the grand gesture of Bull fighting.The trumpet soloist portrays a toreador with the splendor of the corrida. The first movement represents theentrance of the toreador with all of the fanfare and showmanship as he bows to the audience. The second movement is a love song in a waltz tempo. The third movement starts with the raging bull coming out ofit’s corral, ready for the fight. The trumpet soloist is able to contain the bull with dashing melodic figures and a cadenza leading to the final bow in victory.<br> <br> An American in Valencia was awarded Finalist in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. It is recorded on Mark Records with Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English is the soloist.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over fifty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in 1991 TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), several awards from The American Prize, Composition Awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize.<br> <br> He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.An American in Valencia was commissioned by the United States Army Band “Pershing’s Own” in Washington, DC in 1999. The Premiere Performance was May 22, 1999 at the Casa de Cultura in L’Alcudia (Valencia), Spain by Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English, Principal Trumpet the U. S. Army Band "Pershing's Own" as was the soloist.<br> <br> The piece is in three movements in a Spanish style suggesting the grand gesture of Bull fighting.The trumpet soloist portrays a toreador with the splendor of the corrida. The first movement represents theentrance of the toreador with all of the fanfare and showmanship as he bows to the audience. The second movement is a love song in a waltz tempo. The third movement starts with the raging bull coming out ofit’s corral, ready for the fight. The trumpet soloist is able to contain the bull with dashing melodic figures and a cadenza leading to the final bow in victory.<br> <br> An American in Valencia was awarded Finalist in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. It is recorded on Mark Records with Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English is the soloist.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over fifty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in 1991 TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), several awards from The American Prize, Composition Awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize.<br> <br> He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.44 €
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Trompette, Piano
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Gregory Fritze
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An American in Valencia - Trumpet Solo with Band
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Musica Nova USA
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SheetMusicPlus
Flute Quartet sheet music: Levanta Poeira (score & parts)
Quatuor de Flûtes : 4 flûtes
Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509398
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Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509398 By Francesco Leone. By Zequinha de Abreu. Arranged by Francesco Leone. 20th Century,Latin. 24 pages. Glissato Edizioni Musicali #1084637. Published by Glissato Edizioni Musicali (A0.1509398). Dive into the heart of Brazilian Chorinho with Levanta Poeira, an exuberant piece by Zequinha de Abreu, the illustrious composer behind the iconic Tico Tico. This vibrant composition has been masterfully arranged for Flute Quartet by Francesco Leone, targeting intermediate-level flutists who wish to explore the rhythmic complexities and melodic richness of Brazilian music.This ebook provides a complete package, including the score and parts for C Flutes 1-4, meticulously arranged to capture the essence of Chorinho's spirited melodies and harmonies. Each part is designed to challenge and engage the musicians, encouraging a deep dive into the nuances of Brazilian musical tradition while ensuring an enjoyable and rewarding ensemble experience.An audio demo of this engaging arrangement is available on www.glissato.it, offering a glimpse into the lively and captivating performance that awaits. This resource is invaluable for understanding the intended articulation, dynamics, and tempo, serving as an excellent learning tool for ensembles preparing to bring Levanta Poeira to the stage.Additionally, this edition is enhanced with informative resources available in multiple languages: English, French, German, Spanish, Italian, and Portuguese. These materials offer insights into the history of Chorinho, the legacy of Zequinha de Abreu, and the cultural significance of Levanta Poeira, enriching the musician's connection to the piece. Whether you are a performer, a music educator, or a fan of Brazilian music, these resources provide a comprehensive understanding of the genre, the composer, and the arrangement itself.Levanta Poeira for Flute Quartet by Francesco Leone is not just sheet music; it's an invitation to journey through the captivating world of Chorinho, bringing the lively streets of Brazil to your concert hall. Embrace this opportunity to expand your musical horizons with the enchanting rhythms and melodies of one of Brazil's most cherished musical traditions.- Querflöten-Noten, partitions pour flûte, partituras para flauta, partituras para flauta, spartiti per flauto, flüt notaları, nuty na flet, noter for fløyte, noter för flöjt, 플루트 악보, フルートの楽譜 -.
$14.00
12.91 €
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Quatuor de Flûtes : 4 flûtes
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Francesco Leone
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Francesco Leone
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Flute Quartet sheet music: Levanta Poeira
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Glissato Edizioni Musicali
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SheetMusicPlus
Allererst leb ich in mir
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1321916 Composed by Walther von de…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1321916 Composed by Walther von der Vogelweide. Arranged by Bettina Schipp. Early Music,Historic,Medieval,Renaissance. Individual part. 5 pages. Songbooks.info #910333. Published by songbooks.info (A0.1321916). These Medieval and Renaissance Songs were arranged for Guitar fingerpicking. They were written in the well-known tablature for string instruments as well as in classical musical notation - for slightly intermediate and advanced guitarists. The songs were recorded at a slow tempo and with a metronome in the background. Have fun making music...!Diese Lieder aus dem Mittelalter und der Renaissance wurden für das Fingerpicking mit der Gitarre arrangiert. Sie wurden in der bekannten Tabulatur für Saiteninstrumente sowie in der klassischen Notenschrift notiert - für leicht fortgeschrittene und fortgeschrittene GitarristInnen. Die Lieder wurden in einem langsamen Tempo und mit einem Metronom im Hintergrund aufgenommen. Viel Spaß beim Musizieren...!
$2.49
2.3 €
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Guitare
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Walther von der Vogelweide
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Bettina Schipp
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Allererst leb ich in mir
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songbooks.info
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SheetMusicPlus
Menuett in G - J. S. Bach
Mandoline
Mandolin - Level 2 - Digital Download SKU: A0.1347845 Composed by Johann Sebastian …
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Mandolin - Level 2 - Digital Download SKU: A0.1347845 Composed by Johann Sebastian Bach. Arranged by songbooks.info. Baroque,Classical,Renaissance. Score. 3 pages. Songbooks.info #932658. Published by songbooks.info (A0.1347845). Well-known and popular themes from classical music - notated for the Mandolin in classical musical notation as well as in the well-known tablature for string instruments. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Mandoline in klassischer Notenschrift sowie in der bekannten Tabulatur für Saiteninstrumente. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
2.05 €
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Mandoline
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Johann Sebastian Bach
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songbooks
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Menuett in G - J. S. Bach
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songbooks.info
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SheetMusicPlus
Sonatina in G - L. v. Beethoven
Mandoline
Mandolin - Level 2 - Digital Download SKU: A0.1347858 Composed by L. v. Beethoven. …
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Mandolin - Level 2 - Digital Download SKU: A0.1347858 Composed by L. v. Beethoven. Arranged by songbooks.info. Baroque,Classical,Renaissance. Score. 2 pages. Songbooks.info #932671. Published by songbooks.info (A0.1347858). Well-known and popular themes from classical music - notated for the Mandolin in classical musical notation as well as in the well-known tablature for string instruments. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Mandoline in klassischer Notenschrift sowie in der bekannten Tabulatur für Saiteninstrumente. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
2.05 €
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Mandoline
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L
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songbooks
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Sonatina in G - L. v. Beethoven
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songbooks.info
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SheetMusicPlus
Massa's in de cold ground
Guitare notes et tablatures
Solo Guitar - Level 3 - Digital Download SKU: A0.1393061 Composed by Stephen Foster…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1393061 Composed by Stephen Foster. Arranged by Bettina Schipp. Country,Folk,Traditional. Individual part. 4 pages. Songbooks.info #976603. Published by songbooks.info (A0.1393061). Songs by Stephen C. Foster (1826-1564) - arranged for Guitar fingerpicking. The songs were written in the well-known tablature for string instruments as well as in classical musical notation - for slightly intermediate and advanced guitarists. The songs were recorded at a slow tempo and with a metronome in the background. Have fun making music...!Songs von Stephen C. Foster (1826-1564) - für das Fingerpicking mit der Gitarre arrangiert. Die Songs wurden in der bekannten Tabulatur für Saiteninstrumente sowie in der klassischen Notenschrift notiert - für leicht fortgeschrittene und fortgeschrittene GitarristInnen. Die Lieder wurden in einem langsamen Tempo und mit einem Metronom im Hintergrund aufgenommen. Viel Spa� beim Musizieren...!
$2.49
2.3 €
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Guitare notes et tablatures
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Stephen Foster
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Bettina Schipp
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Massa's in de cold ground
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songbooks.info
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SheetMusicPlus
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