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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
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Vous avez sélectionné:
Southern Feeling
Partitions à imprimer
15 partitions trouvées
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Nino Ferrer: Southern Feeling
Piano, Voix
4.99 €
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Piano, Voix
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Nino Ferrer: Southern Feeling
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Southern Feeling
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Quickpartitions
Southern Gospel Piano - Devotion
Piano seul
Piano - Intermediate - Digital Download SKU: M0.31086EB Gospel. E-book. 41 pages. M…
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Piano - Intermediate - Digital Download SKU: M0.31086EB Gospel. E-book. 41 pages. Mel Bay Publications - Digital Sheet Music #31086EB. Published by Mel Bay Publications - Digital Sheet Music (M0.31086EB). ISBN 9781513477787. 8.75X11.75 inches.We all have experienced devotion at varying levels of intensity within our lives. Sometimes it is temporary, but in other cases it is lasting and perhaps even permanent. Devotion can be directed toward an idea, a purpose, plan, pet or person, a concept, a sport or hobby, a philosophy, or a feeling or relationship, but we all have known it in some measure. It can be so pathetically shallow as devotion to an object or possession, but its highest expression is found in devotion to the most noble of lasting and eternal values and in pursuit of knowing the awesome Creator of the universe- - - God himself. Hopefully, these piano pieces will inspire a greater measure of devotion from each of us.
Song List: All The Way My Savior Leads Me He's Everything To Me I Gave My Life For Thee Is Your All On The Altar? Jesus Paid It All O Why Not Tonight? Only Trust Him Pass Me Not, O Gentle Saviour Softly And Tenderly
$14.99
13.99 €
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Piano seul
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Southern Gospel Piano - Devotion
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
I Will Arise And Go To Jesus SATB
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.945385 Composed by Souther…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.945385 Composed by Southern Folk Melody / William Bradbury. Arranged by Peggy Carter. Christian,Gospel,Praise & Worship,Sacred. Octavo. 9 pages. Peggy Carter #5793839. Published by Peggy Carter (A0.945385). I Will Arise is in a minor mode with a strong feeling of forward motion. It is sung as a quadlibet against Jesus Loves Me (in major mode), all time favorite of children and even senior adults. Appropriate for general worship, the range and level of difficulty is suitable for an average volunteer choir.
$1.99
1.86 €
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Chorale SATB
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Southern Folk Melody / William Bradbury
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Peggy Carter
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I Will Arise And Go To Jesus SATB
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Peggy Carter
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SheetMusicPlus
1. Symphonie
3 (auch 3 Picc.) · 3 · Engl. Hr. · 3 · Bassklar. · 3 · Kfg. – 4 …
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3 (auch 3 Picc.) · 3 · Engl. Hr. · 3 · Bassklar. · 3 · Kfg. – 4 · 3 · 3 · 1 – P. S. (Trgl. · 2 Gongs· Gl. · Beck. · Tomt. · Rührtr. · kl. Tr. · gr. Tr. · Vibr.) (4 Spieler) – Cel. · Klav. · Hfe. – Str. altovoice and orchestra - Digital Download SKU: S9.Q2283 Versuch eines Requiems. Composed by Karl Amadeus Hartmann. This edition: study score. Music Of Our Time. Downloadable, study score. Duration 35 minutes. Schott Music - Digital #Q2283. Published by Schott Music - Digital (S9.Q2283). English.Karl Amadeus Hartmann wrote his first symphony in 1935/36. At that time he was still an unknown musician whose works stood no chance of being performed and who could not hope to find encouragement in his native Germany. He had to wait more than ten years for its first performance, which finally took place in Frankfurt in the spring of 1948 under the direction of Winfried Zillig. I was 21 at the time, and the work left an extraordinarily deep impression on me, an impression that marked the beginning of my admiration for Hartmann's music and its very special kind of intellectuality, which struck me as both important and significant: by this I mean its spontaneous and unrefracted immediacy, its honesty and straightforwardness – qualities that extend beyond this composer's works and affect his whole surroundings, including his fellow human beings. All Hartmann's works, moreover, contain an essential element of the art of compostion, namely, an exact correspondence between the artist's insistent need to express himself and the instrumental resources that he chooses. A superficial listener might perhaps fail to notice at first that the huge orchestral apparatus that Hartmann conjures up exactly matches his powerful expressivity and the colourful nature of his rhetoric. There is also the expansiveness and physically charged vitality of the native of southern Germany, a man capable of combining his own sense of inwardness with the beauty of the moment and a feeling of hymnic grandeur. It is a combination that reflects his own south German countryside and that answers a need to communicate sustained by his own unwavering faith in humanity. - Hans Werner Henze, in: Hartmann: Kleine Schriften.
$33.99
31.72 €
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Karl Amadeus Hartmann
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1. Symphonie
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Schott Music - Digital
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SheetMusicPlus
Horologium
Piano Facile
Easy Piano - Digital Download SKU: A0.507391 Composed by Heather Cattanach. 20th Ce…
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Easy Piano - Digital Download SKU: A0.507391 Composed by Heather Cattanach. 20th Century,Children,Contemporary,Instructional. Score. 2 pages. Published by Heather Cattanach (A0.507391). Late Elementary players will have fun playing forearm clusters and alternating from black note patterns to white note patterns, with the dreamy Piano Solo Horologium. This is a southern hemisphere constellation, named by the astronomer Nicolas Louis de Lacaille in honour of the inventor of the pendulum clock, Christiaan Huygens. You are feeling very sleepy… From “88 Constellations†a collection by Heather Cattanach featuring one piece of piano music for each of the 88 constellations (to match the number of keys on a standard piano). *At the end, simultaneously and gently rest one arm on the black keys and the other on the whites, and lay your head on your arms. Rest there as long as you like. Performance Time 1 minute. 1 page. (General Instructional, Children’s Music, Modern, 21st Century, Repertoire, Recital).
$2.99
2.79 €
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Piano Facile
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Heather Cattanach
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Horologium
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Heather Cattanach
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SheetMusicPlus
ALES STENAR, suite for violin and chamber orchestra - Score Only
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. B…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,Romantic Period. 28 pages. Stefano Olcese #745768. Published by Stefano Olcese (A0.1145526). ----> IMPORTANT
$19.99
18.66 €
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Orchestre de chambre
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Stefano Olcese
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Stefano Olcese
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ALES STENAR, suite for violin and chamber orchestra - Score Only
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Stefano Olcese
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SheetMusicPlus
Good Feeling by Flo Rida - Piano/Vocal/Chords, Singer Pro
Piano, Voix et Guitare
Performed by: Flo Rida: Good Feeling Digital Sheetmusic - instantly downloadable sheet mus…
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Performed by: Flo Rida: Good Feeling Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords;Singer Pro, instruments: Voice;Piano;Backup Vocals; 9 pages -- Club/Dance~~Hip Hop~~Southern Rap~~Rap~~House~~Electronic
$5.99
5.59 €
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Piano, Voix et Guitare
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Flo Rida
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Piano/Vocal/Chords, Singer Pro
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Musicnotes
Feeling at Home in the Presence of Jesus by The Cathedral Quartet - Piano/Vocal/Chords
Piano, Voix
Performed by: The Cathedral Quartet: Feeling At Home In the Presence of Jesus Digital Shee…
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Performed by: The Cathedral Quartet: Feeling At Home In the Presence of Jesus Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords;Hymn, instruments: Voice;Piano;4-Part Choir; 3 pages -- Southern Gospel~~Christian~~Contemporary Gospel
$5.50
5.13 €
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Piano, Voix
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The Cathedral Quartet
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Piano/Vocal/Chords
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Musicnotes
Parting Song (SA or SB, Higher Key of G)
Chorale 2 parties
Choral Choir,Choral (SA) - Digital Download SKU: A0.934823 Composed by Southern Ame…
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Choral Choir,Choral (SA) - Digital Download SKU: A0.934823 Composed by Southern American Folk Song/Hymn Tune. Arranged by Christopher Durigg. Contemporary,Folk. 11 pages. Christopher Durigg #6333281. Published by Christopher Durigg (A0.934823). PUBLISHER: C. DURIGG MUSIC PUBLISHER WEBSITE: www.cdurigg.com VISIT FOR AN AUDIO SAMPLE RECORDING: http://www.cdurigg.com/cdca001g.html C. DURIGG MUSIC ID FOR THIS PIECE: CDCA-001GVOICING: TWO-PART/SA or SBLEVEL: EARLY INTERMEDIATE (Grade 2.5/5)CHORAL SERIES: CHORAL ARTISTRYALSO AVAILABLE (updated JAN 2024):CDCA-001GC — SATB — not yet releasedCDCA-001GB — SAB (Key of G)CDCA-001G — TWO-PART SA or SB (Key of G)CDCA-001 — TWO-PART SA (Key of F) PRODUCT DESCRIPTION: In the last few years leading up to 2020, social division and dissent has risen across the world. This social division has been compounded by extreme social and physical isolation during the COVID-19 crisis. In light of these developments, I felt that this piece’s message was needed now in 2020 more than ever. The tune Prospect is by far one of the most beautiful American melodies from the 1800s. The text was inspired by the beauty of human connection and the feelings we experience when parting ways: sadness and happy remembrance. The text attempts to invoke healing as we keep everyone we hold dear etched on our hearts. This arrangement is an accessible, early intermediate arrangement for 2-Part chorus.     - Christopher Durigg Â
$2.25
2.1 €
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Chorale 2 parties
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Southern American Folk Song/Hymn Tune
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Christopher Durigg
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Parting Song
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Christopher Durigg
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SheetMusicPlus
Parting Song (SAB)
Chorale 3 parties
Choral Choir,Choral (SAB) - Level 3 - Digital Download SKU: A0.1361068 Composed by …
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Choral Choir,Choral (SAB) - Level 3 - Digital Download SKU: A0.1361068 Composed by Southern American Folk Song/Hymn Tune. Arranged by Christopher Durigg. 20th Century,Classical,Contemporary,Folk. 13 pages. Christopher Durigg #945559. Published by Christopher Durigg (A0.1361068). PUBLISHER: C. DURIGG MUSICPUBLISHER WEBSITE: www.cdurigg.com VISIT FOR AN AUDIO SAMPLE RECORDING: http://www.cdurigg.com/cdca001g.htmlC. DURIGG MUSIC ID FOR THIS PIECE: CDCA-001GBVOICING: SABLEVEL: INTERMEDIATE (Level 3/5)CHORAL SERIES: CHORAL ARTISTRYALSO AVAILABLE (updated JAN 2024):CDCA-001GC — SATB — not yet releasedCDCA-001GB — SAB (Key of G)CDCA-001G — TWO-PART SA or SB (Key of G)CDCA-001 — TWO-PART SA (Key of F)PRODUCT DESCRIPTION:In the last few years leading up to 2020, social division and dissent has risen across the world. This social division has been compounded by extreme social and physical isolation during the COVID-19 crisis. In light of these developments, I felt that this piece’s message was needed now in 2020 more than ever.The tune Prospect is by far one of the most beautiful American melodies from the 1800s. The text was inspired by the beauty of human connection and the feelings we experience when parting ways: sadness and happy remembrance. The text attempts to invoke healing as we keep everyone we hold dear etched on our hearts. This arrangement is an accessible, early intermediate arrangement for SAB chorus.    - Christopher Durigg.
$2.50
2.33 €
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Chorale 3 parties
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Southern American Folk Song/Hymn Tune
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Christopher Durigg
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Parting Song
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Christopher Durigg
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SheetMusicPlus
You Taught Me How To Speak In Love
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1311681 By Marlena Shaw. By Art M…
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C Instrument - Level 3 - Digital Download SKU: A0.1311681 By Marlena Shaw. By Art Munson and Molly-ann Leikin. Arranged by Popnroll 1976. 20th Century,Pop. Lead Sheet / Fake Book. 4 pages. Popnroll 1976 #900676. Published by Popnroll 1976 (A0.1311681). You Taught Me How To Speak In Love - Marlena Shaw (Lead Sheet for Vocal & Guitar solo/Chords/Lyrics/Piano Intro)This is the vocal melody score (with lyrics) for the second ballad You Taught Me How To Speak In Love from R&B female vocalist Marina Shaw's 1974 hit album WHO IS THIS BITCH, ANYWAY?The intro piano and the solos of the two guitarists (Larry Carlton & David T. Walker) in the latter half of the song are also copied completely.The melody of the song has also been transcribed as faithfully as possible.PDF format, 4 pages.Lyrics and music by Molly Leikin & Art MunsonSong: Marlena ShawSongs commentary　This song is said to be the motif of Itoshi no Ellie by Southern All Stars, but this song has a simpler structure than Itoshi no Ellie.　The song structure repeats the A part and the B part (chorus) twice, then fades out (F.O.) while repeating the B part.　During this time, there are solos involving the two guitarists in the song. First, Larry Carlton on the left takes the lead in the high register with a clever use of chord tones, and David T. Walker, seated on the right from the third turn, develops a unique and chic phrase.　Marina's singing is free and uninhibited, but her phrasing is full of color as if she is speaking her feelings to the audience.
$9.99
9.32 €
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Instruments en Do
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Marlena Shaw
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Popnroll 1976
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You Taught Me How To Speak In Love
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Popnroll 1976
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SheetMusicPlus
Parting Song (SA, Original Key of F) - Second Edition
Chorale 2 parties
Choral Choir (SA) - Digital Download SKU: A0.934818 Composed by Southern American F…
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Choral Choir (SA) - Digital Download SKU: A0.934818 Composed by Southern American Folk Song/Hymn Tune. Arranged by Christopher Durigg. Contemporary,Folk,Graduation. Octavo. 11 pages. Christopher Durigg #6070271. Published by Christopher Durigg (A0.934818). PUBLISHER: C. DURIGG MUSICPUBLISHER WEBSITE: www.cdurigg.com VISIT FOR AN AUDIO SAMPLE RECORDING: http://www.cdurigg.com/cdca001.htmlC. DURIGG MUSIC ID FOR THIS PIECE: CDCA-001 -- Second EditionVOICING: TWO-PART/SALEVEL: EARLY INTERMEDIATECHORAL SERIES: CHORAL ARTISTRYALSO AVAILABLE: Edition in the higher Key of G, suitable for SA or SB (CDCA-001G)PRODUCT DESCRIPTION: In the last few years leading up to 2020, social division and dissent has risen across the world. This social division has been compounded by extreme social and physical isolation during the COVID-19 crisis. In light of these developments, I felt that this piece’s message was needed now in 2020 more than ever. The tune Prospect is by far one of the most beautiful American melodies from the 1800s. The text was inspired by the beauty of human connection and the feelings we experience when parting ways: sadness and happy remembrance. The text attempts to invoke healing as we keep everyone we hold dear etched on our hearts. This arrangement is an accessible, early intermediate arrangement for 2-Part chorus. - Christopher Durigg
$2.25
2.1 €
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Chorale 2 parties
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Southern American Folk Song/Hymn Tune
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Christopher Durigg
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Parting Song
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Christopher Durigg
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SheetMusicPlus
Sweet Home Alabama - Piano Solo
Piano seul
Piano Solo - Advanced Intermediate - Digital Download By Lynyrd Skynyrd. Arranged b…
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Piano Solo - Advanced Intermediate - Digital Download By Lynyrd Skynyrd. Arranged by Mario Stallbaumer. 5 pages. Published by Mario Stallbaumer
With this sheet music, you can play "Sweet Home Alabama" on piano!<br> <br> It's a challenging, but playable piano arrangement for experienced players.<br> With this sheet music, "Sweet Home Alabama" will sound amazing on piano!<br> <br> The full melody is included in the piano part, so it makes for a perfect instrumental (piano solo) cover.<br> <br> "Sweet Home Alabama" was first released in 1974 on "Second Helping", the second album by American Southern rock band Lynyrd Skynyrd.<br> <br> Written as a response to Neil Young's songs "Southern Man" and "Alabama" (which were about racism and slavery in the American South), there later was some controversy about the song's lyrics.<br> However, Young called the song a "great record", and was critical of his own songs.<br> Lynyrd Skynyrd's lead vocalist Ronnie Van Zant, on the other hand, repeatedly performed wearing a Neil Young t-shirt.<br> <br> Without a doubt, "Sweet Home Alabama" is Lynyrd Skynyrd's biggest hit, a prime example of Southern rock, and an everlasting classic.<br> <br> The song appeared in countless films, from "8 Mile" to the 2010 animated film "Despicable Me".<br> <br> It's also an amazing song to play on the piano!<br> <br> Here are the full lyrics to "Sweet Home Alabama":<br> <br> [Verse 1]<br> Big wheels keep on turnin'<br> Carry me home to see my kin<br> Singin' songs about the southland<br> I miss Alabamy once again<br> And I think it's a sin, yes<br> <br> [Verse 2]<br> Well I heard Mr. Young sing about her (Southern man)<br> Well, I heard ol' Neil put her down<br> Well, I hope Neil Young will remember<br> A Southern man don't need him around, anyhow<br> <br> [Chorus]<br> Sweet home Alabama<br> Where the skies are so blue<br> Sweet home Alabama<br> Lord, I'm coming home to you<br> <br> [Verse 3]<br> In Birmingham they love the governor (Boo! Boo! Boo!)<br> Now we all did what we could do<br> Now Watergate does not bother me<br> Does your conscience bother you?<br> Tell the truth<br> <br> [Chorus]<br> Sweet home Alabama<br> Where the skies are so blue<br> Sweet home Alabama<br> Lord, I'm coming home to you<br> Here I come, Alabama<br> <br> [Verse 4]<br> Now Muscle Shoals has got the Swampers<br> And they've been known to pick a song or two (Yes, they do)<br> Lord they get me off so much<br> They pick me up when I'm feeling blue<br> Now how 'bout you?<br> <br> [Chorus]<br> Sweet home Alabama<br> Where the skies are so blue<br> Sweet home Alabama<br> Lord, I'm coming home to you
$4.99
4.66 €
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Piano seul
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Lynyrd Skynyrd
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Sweet Home Alabama - Piano Solo
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Mario Stallbaumer
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SheetMusicPlus
The Girl from Ipanema for Solo Trumpet & Piano
Trompette, Piano
By Various. Arranged by Keith Terrett. Score, Set of Parts. 8 pages. Published by Musi…
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By Various. Arranged by Keith Terrett. Score, Set of Parts. 8 pages. Published by Music for all Occasions
Arranged for Solo Bb Brass & Piano "Garota de Ipanema" ("The Girl from Ipanema") is a Brazilian bossa nova and jazz song. It was a worldwide hit in the mid-1960s and won a Grammy for Record of the Year in 1965. It was written in 1962, with music by Antônio Carlos Jobim and Portuguese lyrics by Vinícius de Moraes. English lyrics were written later by Norman Gimbel.<br> <br> The first commercial recording was in 1962, by Pery Ribeiro. The Stan Getz recording featuring the vocal debut of Astrud Gilberto became an international hit. This version had been shortened from the version on the album Getz/Gilberto (recorded in March 1963, released in March 1964) which had also included the Portuguese lyrics sung by Astrud's then husband João Gilberto. In the US, the single peaked at number five on the Billboard Hot 100, and went to number one for two weeks on the Easy Listening chart. Overseas it peaked at number 29 in the United Kingdom, and charted highly throughout the world.<br> <br> Numerous recordings have been used in films, sometimes as an elevator music cliché. It is believed to be the second most recorded pop song in history, after "Yesterday" by The Beatles. The song was inducted into the Latin Grammy Hall of Fame in 2001. In 2004, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2009, the song was voted by the Brazilian edition of Rolling Stone as the 27th greatest Brazilian song.<br> <br> Ipanema is a fashionable seaside neighborhood located in the southern region of the city of Rio de Janeiro.<br> <br> <br> Helô Pinheiro, the woman who inspired the song, in 2006.<br> The song was composed for a musical comedy titled Dirigível (Blimp), then a work-in-progress of Vinicius de Moraes. The original title was "Menina que Passa" ("The Girl Who Passes By"); the first verse was different. Jobim composed the melody on his piano in his new house in Rua Barão da Torre, in Ipanema. In turn, Moraes had written the lyrics in Petrópolis, near Rio de Janeiro, as he had done with "Chega de Saudade" ("No More Blues") six years earlier.<br> <br> During a recording session in New York with João Gilberto, Antonio Carlos Jobim and Stan Getz, the idea of cutting an English-language version came up. Norman Gimbel wrote the English lyrics. João's wife, Astrud Gilberto, was the only one of the Brazilians who could speak English well and was chosen to sing. Her voice, without trained singer mannerisms, proved a perfect fit for the song. Ethel Ennis and Nat King Cole have also both recorded the song.<br> <br> The song was inspired by Heloísa Eneida Menezes Paes Pinto (now known as Helô Pinheiro), a seventeen-year-old girl living on Montenegro Street in Ipanema. Daily, she would stroll past the Veloso bar-café, not just to the beach ("each day when she walks to the sea"), but in the everyday course of her life. She would sometimes enter the bar to buy cigarettes for her mother and leave to the sound of wolf-whistles. In the winter of 1962, the composers saw the girl pass by the bar. Since the song became popular, she has become a celebrity.<br> <br> In Revelação: a verdadeira Garôta de Ipanema ("Revealed: The Real Girl from Ipanema") Moraes wrote that she was "the paradigm of the young Carioca: a golden teenage girl, a mixture of flower and mermaid, full of light and grace, the sight of whom is also sad, in that she carries with her, on her route to the sea, the feeling of youth that fades, of the beauty that is not ours alone—it is a gift of life in its beautiful and melancholic constant ebb and flow."<br> <br> Ella Fitzgerald recorded this song on her two-disc set of Brazilian music Ella Abraca Jobim, released on the label [[Pablo today}] in 1981.<br> <br> The legacy of "The Girl from Ipanema" was acknowledged by multiple aspects of the 2016 Summer Olympics and Paralympics held in Rio de Janeiro: the Olympic and Paralympic mascots were respectively named Vinicius and Tom after the song's co-writers by a public vote, while the Olympics' opening ceremony featured a segment themed around the song and the architecture of Oscar Niemeyer. Jobim's grandson Daniel performed the song during the segment, which also featured an appearance by Brazilian supermodel Gisele Bündchen. Spotify reported that the song had been streamed on its service 40,000 times per-day in the days following the ceremony (a 1200% increase), while in the U.S., the song reached #5 on Billboard's World Digital Songs chart the following week.
$7.99
7.46 €
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Trompette, Piano
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Various
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Keith Terrett
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The Girl from Ipanema for Solo Trumpet & Piano
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Music for all Occasions
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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)
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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
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