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TRI ET FILTRES
TRI ET FILTRES
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111
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5
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VOIX
Chorale SATB
27
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5
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VENTS
Flûte traversière et Piano
63
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51
Clarinette
49
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47
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39
2 Saxophones (duo)
35
Hautbois (partie séparée)
34
Flûte traversière
29
Quatuor de Saxophones: 4 saxophones
26
Saxophone Soprano et Piano
26
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23
2 Clarinettes (duo)
17
Saxophone Alto
16
2 Flûtes traversières (duo)
16
Quintette de Saxophone: 5 saxophones
15
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
14
Cor anglais, Piano
14
Saxophone (partie séparée)
12
3 Saxophones (trio)
12
Flûte, Hautbois, Clarinette, Basson
12
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11
2 Flûte à bec (duo)
9
Quatuor de Clarinettes: 4 clarinettes
8
Saxophone, Clarinette (duo)
7
3 Clarinettes (trio)
6
2 Hautbois (duo)
6
Flûte, Clarinette (duo)
6
Flûte à bec Soprano
6
Clarinette, Violon (duo)
5
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5
Flûte à bec Alto
5
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4
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4
Clarinette, Basson (duo)
4
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Saxophone Tenor
4
Hautbois, Basson (duo)
4
Hautbois
4
Flûte, Saxophone (duo)
3
Ensemble de Flûtes
3
3 Flûtes à bec (trio)
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3
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Cor Anglais
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Flûte, Hautbois, Clarinette (trio)
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Piccolo
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Flûte, Hautbois, Basson
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Clarinette et Alto
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Piccolo, Piano
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Flûte, Basson et Piano
1
Harmonica
1
Flûte, trombone et piano
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CUIVRES
Cor et Piano
57
Cor
53
Trombone et Piano
43
Trompette
40
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38
2 Trombones (duo)
35
Trombone
35
Tuba
30
Tuba et Piano
28
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
21
Cor anglais, Piano
14
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
2 Euphoniums (duo)
10
Euphonium, Piano (duo)
9
2 Trompettes (duo)
9
Quatuor de Cuivres
8
Trompette (partie séparée)
8
Quatuor de cuivres: 4 trombones
8
Trompette, Trombone (duo)
6
Trompette, Saxophone (duo)
4
2 Cors (duo)
4
Euphonium
3
4 Tubas
3
3 Tubas (trio)
2
3 Trombones (trio)
2
Cor Anglais
2
Ensemble de Cors
2
2 Tubas (duo)
2
3 Cors (trio)
2
Euphonium, Tuba (duo)
2
Quatuor de cuivres: 4 trompettes
2
Quatuor de cuivres: 4 cors
2
Trombone (partie séparée)
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Ensemble de Trompettes
1
Ensemble de Trombones
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Cor (partie séparée)
1
Trompette, Cor (duo)
1
Trio de Cuivres
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Trombone, Cor (duo)
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CORDES
Violon et Piano
74
Quatuor à cordes: 2 violons, alto, violoncelle
63
Violoncelle, Piano
58
Alto, Piano
56
Violoncelle (partie séparée)
39
Violon
38
Alto seul
32
Contre Basse
26
Contrebasse, Piano (duo)
23
2 Harpes (duo)
15
Alto (partie séparée)
13
Trio à Cordes: violon, alto, violoncelle
12
Violon, Violoncelle (duo)
12
2 Violoncelles (duo)
11
2 Altos (duo)
11
Trio à Cordes: 2 violons, violoncelle
11
2 Violons (duo)
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
9
Violon, Alto (duo)
8
Harpe
7
Violoncelle
6
Alto, Violoncelle (duo)
6
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
Violon (partie séparée)
5
4 Violoncelles
5
Quatuor à cordes: 4 violons
3
Trio à Cordes: 3 violoncelles
2
Piano Trio: Violon, Alto, Piano
2
Trio à cordes: 3 violins
2
Harpe, Violon (duo)
2
Contrebasse (partie séparée)
2
Quatuor à cordes : 4 altos
2
2 Contrebasses (duo)
2
Violon, Guitare (duo)
2
Trio à cordes: 3 altos
2
Alto et Basson
1
Violoncelle , Guitare (duo)
1
Alto, Guitare (duo)
1
Harpe, Flûte (duo)
1
Harpe et mandoline
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
54
Orchestre
11
Orchestre à Cordes
10
Ensemble de cuivres
8
Marimba
4
Xylophone
2
Orchestre de chambre
2
Cloches
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Xylophone, Piano
2
Jazz combo
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Ensemble Jazz
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📄 Storia della Musica (Dalle origini al XX secolo)
Ligne De Mélodie, (Paroles) et Accords
C Instrument - Level 3 - Digital Download SKU: A0.1105055 By Andrea Balzani. By And…
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C Instrument - Level 3 - Digital Download SKU: A0.1105055 By Andrea Balzani. By Andrea Balzani. Classical,Early Music,Historic,Medieval,Opera. Lead Sheet / Fake Book. 183 pages. Andrea Balzani #708300. Published by Andrea Balzani (A0.1105055). 👉  Dispensa di Storia della Musica (dispensa didattica)Language: ITALIAN 🇮🇹 ➡ï¸â€ŠLinktree: https://linktr.ee/AndreaBalzani Contenuti:- TESI n. 1 ◾  Origini monogenetiche della musica ed Etnomusicologia- TESI n. 2 ◾  Le Musiche dei popoli antichi e la musica ebraica - TESI n. 3 ◾  L'Antica musica Greca- TESI n. 4 ◾  Il Canto Cristiano e il Gregoriano - TESI n. 5 ◾  La Polifonia medioevale e l'Ars Antiqua- TESI n. 6 ◾  La Notazione musicale  - TESI n. 7 ◾  Guido d'Arezzo e la Teoria Medioevale - TESI n. 8 ◾  Canti sacri e profani, Trovatori, Trovieri e Minnesangers - TESI n. 9 ◾  Il Trecento: L'Ars Nova- TESI n. 10 ◾  Le Scuole fiamminghe del Quattrocento  - TESI n. 11 ◾  La Musica nel Rinascimento e la Polifonia sacra - TESI n. 12 ◾  Le Forme musicali dal XIII sec. al XVI sec.  - TESI n. 13 ◾  I Trattatisti e gli strumenti nel Rinascimento - TESI n. 14 ◾  La Nascita dell'Opera e la Camerata Bardi - TESI n. 15 ◾  L'Oratorio e la Musica sacra- TESI n. 16 ◾  L'Opera Italiana nel Seicento a Roma e Venezia - TESI n. 17 ◾  L'Opera Italiana nel Settecento in Italia e in Europa . - TESI n. 18 ◾  L'Opera seria e l'Opera buffa- TESI n. 19 ◾  Le riforme dell'Opera italiana : Gluck e Calzabigi - TESI n. 20 â—¾  L'Opera in Francia, Germania, Austria ed Inghilterra - TESI n. 21 ◾  L'Opera Italiana in Europa nel Seicento e Settecento- TESI n. 22 ◾  L'Opera nell'Ottocento: Rossini, Donizetti, Bellini, Verdi - TESI n. 23 ◾  Wagner : vita, opere e pensiero  - TESI n. 24 ◾  Musica, forme e strumenti del primo barocco - TESI n. 25 ◾  Il Barocco di mezzo : la Suite, la Sonata, Corelli  - TESI n. 26 ◾  Il Concerto, Vivaldi e Scarlatti   - TESI n. 27 ◾  J.S.Bach, Haendel, le scuole organistiche tedesche- TESI n. 28 ◾  Il Rococò e lÂ’Età Classica: Haydn, Mozart, Beethoven- TESI n. 29 ◾  Il Romanticismo: le forme ed i musicisti romantici   - TESI n. 30 ◾  La musica strumentale nella seconda Ottocento    - TESI n. 31 ◾  Le Scuole Nazionali      - TESI n. 32 ◾  Il Novecento, la Dodecafonia e la Musica elettronica  ✉ï¸â€Šâ€ŠContact: andreabalzani.workinprogress@gmail.com
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Ligne De Mélodie, (Paroles) et Accords
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Andrea Balzani
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📄 Storia della Musica
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Andrea Balzani
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SheetMusicPlus
Mastering Melodies: Favorite Operas
Piano seul
Piano - Level 2 - Digital Download SKU: LX.70-1281H Simplified Keyboard Selectio…
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Piano - Level 2 - Digital Download SKU: LX.70-1281H Simplified Keyboard Selections Late Beg/Early Int. Arranged by Janet Vogt Zeitler. Piano Collection. Mastering Melodies Series. 16 pages. Heritage Music Press #e70/1281H. Published by Heritage Music Press (LX.70-1281H). UPC: 000308045161.The moment a familiar classical melody falls into the fingers of a beginning pianist is a moment of musical joy for both performer and listener. Mastering Melodies offers such moments of discovery and accomplishment with a collection of repertoire, which is both accessible and delightfully arranged for the late beginner/early intermediate piano student. These melodies set the stage for beginning musicianship - playing with expression, building increasing technical skills and inspiring a nearly love and appreciation of the classics of musical literature adopted from symphonic, chamber, operatic and keyboard repertoire. The fingers and ears alike will begin to know Beethoven, Bach, Mozart and other great composers, who each had their own unique and extraordinary way of shaping the melodies of their masterworks. These carefully edited and arranged selections will provide a lasting foundation for building repertoire and inspire a natural enthusiasm in each student.
$3.95
3.64 €
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Piano seul
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Janet Vogt Zeitler
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Mastering Melodies: Favorite Operas
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Heritage Music Press
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SheetMusicPlus
36 Melodious and Easy Studies
Alto seul
Viola - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This …
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Viola - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This edition: Sheet music. Etudes, Studies, Study works. Essential Exercises. Downloadable. Op. 84. Schott Music - Digital #Q22681. Published by Schott Music - Digital
Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.<br> Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form.<br> Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.<br> A little dictionary of the musical and technical terms in this volume shall make their meaning accessible to young players in particular.
$16.99
15.64 €
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Alto seul
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Charles Dancla (1817-1907)
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36 Melodious and Easy Studies
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Schott Music - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.09 €
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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
36 Melodious and Easy Studies
Violon
Violin - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This…
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Violin - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This edition: Sheet music. Essential Exercises. Downloadable. Op. 84. Schott Music - Digital #Q11448. Published by Schott Music - Digital
Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.<br> Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form. Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.
$16.99
15.64 €
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Violon
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Charles Dancla (1817-1907)
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36 Melodious and Easy Studies
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Schott Music - Digital
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SheetMusicPlus
La donna e mobile
Piano Facile
Piano - very easy to easy - Digital Download 50 famous opera melodies. Arranged by Ha…
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Piano - very easy to easy - Digital Download 50 famous opera melodies. Arranged by Hans-Guenter Heumann. This edition: Sheet music. Opera, Piano, Arrangement. Pianissimo. Downloadable. Schott Music - Digital #Q47390. Published by Schott Music - Digital
The anthology La donna e mobile is the follow-up volume to the best-seller Eine kleine Nachtmusik with masterpieces of classical music (ED 20764). The latest volume in the Pianissimo series contains 50 of the best known opera melodies and 'favourites of the public' by Mozart, Rossini, Puccini, Verdi and others. The arrangements by Hans-Gunter Heumann are easy to play, yet remain as close to the original as possible. A treasure trove for music lessons and playing for pleasure!
$17.99
16.57 €
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Piano Facile
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Hans-Guenter Heumann
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La donna e mobile
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Schott Music - Digital
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SheetMusicPlus
Melodie de Gluck
Piano seul
Piano - intermediate to difficult - Digital Download Composed by Giovanni Sgambati (1…
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Piano - intermediate to difficult - Digital Download Composed by Giovanni Sgambati (1841-1914). Edited by Robert Schafer and Wilhelm Ohmen. Arranged by Giovanni Sgambati. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 5 pages. Schott Music - Digital #Q53319. Published by Schott Music - Digital
The Italian Giovanni Sgambati received music tuition from an early age and gave his first public concert performances as a child. When Liszt came to Rome in 1861, Sgambati became his student. At the opening of the Sala Dante in 1966 he conducted Liszt's Dante Symphony and later travelled with him to Munich, where he also became acquainted with Richard Wagner's music. Sgambati's first song album was published by Schott in 1870, followed by many piano works, chamber works, symphonies and church music compositions. The transcription 'Melodie de Gluck', published in 1881 (plate number 23209), is dedicated to the 'Dance of the Blessed Spirits', a ballet in the second act of the opera 'Orfeo ed Euridice', and is still a popular encore piece by pianists including Evgeny Kissin and Yuja Wang.
$3.99
3.67 €
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Piano seul
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Giovanni Sgambati (1841-1914)
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Giovanni Sgambati
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Co
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Melodie de Gluck
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Schott Music - Digital
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SheetMusicPlus
Italian Opera Arias
Voix Mezzo-Soprano, Piano
Mezzo-soprano voice and piano - intermediate to difficult - Digital Download This edi…
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Mezzo-soprano voice and piano - intermediate to difficult - Digital Download This edition: Sheet music. Schott VOCAL. Downloadable. Schott Music - Digital #Q11069. Published by Schott Music - Digital
Drama, passion, a good dose of humour and, first and foremost, immortal melodies are the ingredients of the great masterpieces of Italian opera history. This collection of arias contains the most beautiful and popular solo pieces of music theatre in one volume. A cross-section of the art of singing spanning three centuries.
$19.99
18.41 €
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Voix Mezzo-Soprano, Piano
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Italian Opera Arias
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Schott Music - Digital
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SheetMusicPlus
Italian Opera Arias
Voix Soprano, Piano
Soprano voice and piano - intermediate to difficult - Digital Download This edition: …
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Soprano voice and piano - intermediate to difficult - Digital Download This edition: Sheet music. Schott VOCAL. Downloadable. Schott Music - Digital #Q11090. Published by Schott Music - Digital
Drama, passion, a good dose of humour and, first and foremost, immortal melodies are the ingredients of the great masterpieces of Italian opera history. This collection of arias contains the most beautiful and popular solo pieces of music theatre in one volume each. A cross-section of the art of singing over three centuries.
$19.99
18.41 €
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Voix Soprano, Piano
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Italian Opera Arias
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Schott Music - Digital
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SheetMusicPlus
Elements of Indian Music
Piano seul
Piano and keyboard - Intermediate-Advanced - Digital Download SKU: M0.30603MEB T…
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Piano and keyboard - Intermediate-Advanced - Digital Download SKU: M0.30603MEB The Melakarta System. Composed by Radhika Iyer. Theory and Reference. E-book and online audio. 101 pages. Mel Bay Publications - Digital Sheet Music #30603MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30603MEB). ISBN 9781619118232. 8.75x11.75 inches.Elements of Indian Music introduces the Indian melodic system in an accessible manner within the realm of Western music theory. It demonstrates a new archetype in music composition for composers of any genre, as well as composition teachers and anyone interested in ethnomusicology. This book contains a set of 12 etudes for piano and transcriptions for classical guitar. Each etude is about one minute in length and utilizes notes from a particular Indian scale. An intermediate to advanced skill level is required to perform each etude. Practicing and performing these studies is an excellent way to expand one’s musical perspective beyond traditional diatonic scales. Indian music has intrigued the West for a long time, but hasn’t always been accessible because of the absence of a systematic approach to theory and repertoire. Just as the Western harmonic system is well developed, the Indian melodic system is very advanced and equally established. The intermingling of these two worlds can inspire new, exceptional sonic landscapes. Useful literature on the evolution of the Indian melodic system is also included, with notes on how it can be used as a modus operandi by Western musicians who wish to apply Indian scales in Western compositions and improvisations. Includes access to online audio
$19.99
18.41 €
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Piano seul
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Radhika Iyer
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Elements of Indian Music
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Toreador Song / March of the Toreadors (LEAD SHEET) Opera "Carmen" [Georges Bizet]
Ligne De Mélodie, (Paroles) et Accords
C Instrument - Digital Download SKU: A0.1276434 By Georges Bizet. By Georges Bizet.…
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C Instrument - Digital Download SKU: A0.1276434 By Georges Bizet. By Georges Bizet. Arranged by Darek. 19th Century,Classical,Romantic Period. Lead Sheet / Fake Book. 1 pages. Darek #868171. Published by Darek (A0.1276434). Toreador Song / March of the Toreadors (LEAD SHEET) Opera Carmen [Georges Bizet]Lead Sheet arrangement of Toreador Song / March of the Toreadors, Opera Carmen by Georges Bizet. For various instruments | Classical Music | Romantic Period | Piano | Keyboard | Guitar | Flute | Violin | Saxophone | Glockenspiel. Step into the realm of musical elegance with meticulously crafted lead sheets for a variety of instruments including Piano, Keyboard, Guitar, Flute, Violin, Saxophone, Glockenspiel, and more, featuring the iconic Toreador Song / March of the Toreadors from Georges Bizet's timeless opera Carmen. Immerse yourself in the grandeur of this beloved composition, now available in a versatile format that caters to a range of musicians. Journey back to the opulent 19th century and experience the allure of this masterpiece, thoughtfully arranged to encompass the essence of the era. These lead sheets offer a harmonious blend of melody and chords, allowing both seasoned players and beginners to explore their musical creativity. Whether you're a pianist, a guitarist, a flutist, or any other instrumentalist, these lead sheets provide a customizable canvas for your interpretation. Each instrument's unique voice harmonizes with the others, creating a harmonious ensemble that captures the depth and spirit of the original composition. Discover the joy of musical collaboration as you and your fellow musicians unite to bring this masterpiece to life. Whether in a solo performance or a group setting, the magic of the Carmen opera is palpable, transcending time and resonating with audiences of all backgrounds. Keywords: Toreador Song, March of the Toreadors, Carmen opera, Georges Bizet, lead sheets, piano, keyboard, guitar, flute, violin, saxophone, glockenspiel, melody, chords, musical collaboration, ensemble, timeless composition, era, musical creativity, versatile format.
$2.00
1.84 €
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Ligne De Mélodie, (Paroles) et Accords
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Georges Bizet
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Darek
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Toreador Song / March of the Toreadors
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Darek
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SheetMusicPlus
A Gershwin Portrait! The Music of George and Ira Gershwin
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0003559 A Gershwin Portrait! The Music o…
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Chorus - Digital Download SKU: AX.00-PO-0003559 A Gershwin Portrait! The Music of George and Ira Gershwin - SATB. Composed by George Gershwin and Ira Gershwin. Arranged by Mac Huff. Choral. 16 pages. Alfred Music - Digital Sheet Music #00-PO-0003559. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003559). ISBN 9780769259901. UPC: 029156098013.Music must reflect the thoughts and aspirations of the people and the time. My people are American. My time is today. This quote from George Gershwin sets the tone for this spectacular 25-minute Feature Medley showcasing the amazing artistic range of George and Ira Gershwin. The six flexible sections of timeless melodies highlight not only their popular songs, but also music for the Broadway and concert stage, the jazz musician and even an opera (Porgy and Bess).Mac Huff's spectacular Gershwin extravaganzahas been designed for all ages with accompaniment options of full combo, rhythm section, piano only or the dynamic ShowTrax CD. A magnificent tribute to two American musical masters!
$8.99
8.28 €
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Chorale SATB
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George Gershwin and Ira Gershwin
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Mac Huff
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A Gershwin Portrait! The Music of George and Ira Gershwin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
George Frideric Handel: Arias Collection, part II (parts) for voice & other instruments
Ligne De Mélodie, (Paroles) et Accords
This is an exclusive transcription for voice & other instruments of MEDIUM skill level…
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This is an exclusive transcription for voice & other instruments of MEDIUM skill level from the original composition by George Frideric Handel. This title is available as instant sheet music download. Contents: amadigi, alessandro, siroe, serse, agitato il cor mi sento, pena tiranna, vano amore, son stanco, deggio morire, crude furie, xerse / opera,classical
$7.99
7.36 €
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Ligne De Mélodie, (Paroles) et Accords
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George Frideric Handel
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Virtualsheetmusic
George Frideric Handel: Arias Collection, part II (f.score) for voice & other instruments
Ligne De Mélodie, (Paroles) et Accords
This is an exclusive transcription for voice & other instruments of MEDIUM skill level…
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This is an exclusive transcription for voice & other instruments of MEDIUM skill level from the original composition by George Frideric Handel. This title is available as instant sheet music download. Contents: amadigi, alessandro, siroe, serse, agitato il cor mi sento, pena tiranna, vano amore, son stanco, deggio morire, crude furie, xerse / opera,classical
$4.99
4.59 €
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Ligne De Mélodie, (Paroles) et Accords
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George Frideric Handel
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Virtualsheetmusic
George Frideric Handel: Arias Collection, part II (COMPLETE) for voice & other instruments
Ligne De Mélodie, (Paroles) et Accords
This is an exclusive transcription for voice & other instruments of MEDIUM skill level…
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This is an exclusive transcription for voice & other instruments of MEDIUM skill level from the original composition by George Frideric Handel. This title is available as instant sheet music download. Contents: amadigi, alessandro, siroe, serse, agitato il cor mi sento, pena tiranna, vano amore, son stanco, deggio morire, crude furie, xerse / opera,classical
$9.99
9.2 €
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Ligne De Mélodie, (Paroles) et Accords
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George Frideric Handel
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Virtualsheetmusic
10 Melodious Etudes for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet - Advanced Intermediate - Digital Download Composed by Marco Bordogni. …
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Brass Quintet - Advanced Intermediate - Digital Download Composed by Marco Bordogni. Arranged by Nir Fishkin. Romantic Period, Classical Period, Opera. Score, Set of Parts. 87 pages. Published by Cherry Classics Music
The 120 Melodious Etudes of Marco Bordogni were introduced in a three-volume set in 1928 by Trombonist Joannes Rochut and have been used for almost 100 years as pedagogical tools primarily in the low brass world. Their bel canto style, using beautiful tone and precise legato are their hallmark.<br> <br> Bass Trombonist Nir Fishkin has artfully arranged 10 Melodious Etudes for Brass Quintet which are suitable for moderately advanced performers. The arrangements spread the melody around between the five parts.<br> <br> The Trumpet parts are in B-flat.
$32.50
29.93 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Marco Bordogni
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Nir Fishkin
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10 Melodious Etudes for Brass Quintet
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Cherry Classics Music
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SheetMusicPlus
Operas and Operettas
Piano seul
Piano - easy - Digital Download SKU: S9.Q23331 Die schönsten Melodien in leic…
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Piano - easy - Digital Download SKU: S9.Q23331 Die schönsten Melodien in leichter Spielbarkeit. This edition: Sheet music. Downloadable. Op. 1. Schott Music - Digital #Q23331. Published by Schott Music - Digital (S9.Q23331). 68 der beliebtesten Melodien aus den bekanntesten Opern und Operetten.
$15.99
14.72 €
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Piano seul
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Operas and Operettas
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Schott Music - Digital
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SheetMusicPlus
Operas and Operettas
Violin (piano ad libitum) - easy - Digital Download SKU: S9.Q23328 Die schöns…
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Violin (piano ad libitum) - easy - Digital Download SKU: S9.Q23328 Die schönsten Melodien in leichter Spielbarkeit. This edition: Sheet music. Inhalt s. in Rubrik Violine solo. Downloadable. Op. 1. Schott Music - Digital #Q23328. Published by Schott Music - Digital (S9.Q23328). 68 der beliebtesten Melodien aus den bekanntesten Opern und Operetten.
$13.99
12.88 €
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Operas and Operettas
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Schott Music - Digital
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SheetMusicPlus
Melodie from Orfeo ed Euridice - English Horn and Piano (Full Score and Parts)
Cor anglais, Piano
English Horn,Piano - Level 3 - Digital Download SKU: A0.1190282 Composed by Christo…
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English Horn,Piano - Level 3 - Digital Download SKU: A0.1190282 Composed by Christoph Willibald Von Gluck. Arranged by César Madeira. Baroque,Children,Early Music,Opera,Renaissance. Score and part. 9 pages. Sheet Music To Play Editions #789885. Published by Sheet Music To Play Editions (A0.1190282). Melodie (Dance of the Blessed Spirits) from Orfeo ed Euridice by Gluck. Arrangement for English Horn and Piano. With Full Score and Individual Parts. Enjoy it!For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$7.99
7.36 €
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Cor anglais, Piano
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Christoph Willibald Von Gluck
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César Madeira
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Melodie from Orfeo ed Euridice - English Horn and Piano
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Sheet Music To Play Editions
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SheetMusicPlus
Melodie from Orfeo ed Euridice - Alto Sax and Piano (Full Score and Parts)
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.1190272 Composed by Chris…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.1190272 Composed by Christoph Willibald Von Gluck. Arranged by César Madeira. Baroque,Children,Early Music,Opera,Renaissance. Score and part. 9 pages. Sheet Music To Play Editions #789875. Published by Sheet Music To Play Editions (A0.1190272). Melodie (Dance of the Blessed Spirits) from Orfeo ed Euridice by Gluck. Arrangement for Alto Sax and Piano. With Full Score and Individual Parts. Enjoy it!For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$7.99
7.36 €
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Saxophone Alto et Piano
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Christoph Willibald Von Gluck
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César Madeira
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Melodie from Orfeo ed Euridice - Alto Sax and Piano
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Sheet Music To Play Editions
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SheetMusicPlus
Melodie from Orfeo ed Euridice - Violin and Piano (Individual Parts)
Violon et Piano
Composed by Christoph Willibald Von gluck (1714- 1787). Arranged by Sheet Music To Pl…
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Composed by Christoph Willibald Von gluck (1714- 1787). Arranged by Sheet Music To Play Editions. Baroque, Classical, Early Music, Opera, Wedding. 4 pages. Sheet Music To Play Editions #821803. Published by Sheet Music To Play Editions
$4.99
4.59 €
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Violon et Piano
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Christoph Willibald Von gluck
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Melodie from Orfeo ed Euridice - Violin and Piano
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Sheet Music To Play Editions
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SheetMusicPlus
Melodie from Orfeo ed Euridice - Viola and Piano (Full Score)
Alto, Piano
Composed by Christoph Willibald Von gluck (1714- 1787). Arranged by César Made…
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Composed by Christoph Willibald Von gluck (1714- 1787). Arranged by César Madeira. Baroque, Children, Classical, Early Music, Opera. Score and part. 5 pages. Sheet Music To Play Editions #821819. Published by Sheet Music To Play Editions
$4.99
4.59 €
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Alto, Piano
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Christoph Willibald Von gluck
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César Madeira
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Melodie from Orfeo ed Euridice - Viola and Piano
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Sheet Music To Play Editions
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SheetMusicPlus
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