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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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
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AFRICAIN
AMERICANA
ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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CONTEMPORAIN - NEW A…
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
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difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
11487
PIANO & CLAVIERS
Piano seul
11555
Piano Facile
3174
Piano, Voix
1589
Piano, Voix et Guitare
1500
Instruments en Do
592
Orgue
518
1 Piano, 4 mains
311
Piano grosses notes
281
Accompagnement Piano
269
Accordéon
189
Piano Trio: piano, violon, violoncelle
107
2 Pianos, 4 mains
66
Piano (partie séparée)
48
Ligne De Mélodie, Piano
33
Piano Quatuor: piano, 2 violons, violoncelle
32
Piano Quatuor: piano, violon, alto, violoncelle
27
Piano Quintette: piano, 2 violons, alto, violoncelle
26
Clavecin
19
Orgue, Trompette (duo)
19
Orgue, Piano (duo)
12
1 Piano, 6 mains
9
Clavier
8
2 Pianos, 8 mains
7
Accordéon, Piano
5
Instrument seul et Orgue
5
Accordéon, Voix
4
2 Accordéons
3
Ensemble d'Accordéons
2
Accordéon, Corde(s)
1
2 Orgues (duo)
1
Tous Les Instruments
1
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GUITARES
Guitare notes et tablatures
1347
Ligne De Mélodie, (Paroles) et Accords
682
Guitare
495
Basse electrique
405
Ukulele
194
Paroles et Accords
143
Mandoline
128
Piano, Guitare (duo)
89
2 Guitares (duo)
56
Guitare (partie séparée)
43
Basse électrique (partie séparée)
39
Ensemble de guitares
30
4 Guitares (Quatuor)
27
Banjo
20
Dulcimer
20
Partitions De Groupes
18
3 Guitares (trio)
14
Ensemble de Ukulélés
11
Mandoline, Guitare (duo)
4
Ukulele Baryton
3
2 Dulcimers (duo)
2
Guitare, Violon, Violoncelle (trio)
2
Bouzouki
1
Guitare, Orchestre
1
Guitare Tab, Voix, Basse, Batterie
1
Guitare, Quatuor à cordes
1
2 Mandolines (duo)
1
Instrumentations suivantes
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VOIX
Chorale SATB
7507
Chorale 3 parties
1498
Chorale Unison
1147
Chorale 2 parties
1135
Chorale TTBB
489
Voix duo, Piano
242
Chorale SSAA
227
Voix duo
105
Chorale
74
Voix seule
49
Voix haute
21
Chorale SSATB
18
Voix moyenne, Piano
17
Voix Soprano, Piano
13
Voix Alto, Piano
13
Voix basse, Piano
11
Chorale SSAATTBB
11
Voix Tenor
5
Chorale SSATTB
5
Voix Mezzo-Soprano, Piano
3
Voix Tenor, Piano
3
Soli, choeur mixte et accompagnement
3
Voix Soprano
2
Voix basse
2
Chorale, Orgue
2
Chorale SATBB
2
Male Voice
1
Chorale SSAB, Piano
1
Voix haute, Piano
1
Chorale SSAATB
1
Chorale SSATBB
1
Voix Baryton, Piano
1
Instrumentations suivantes
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VENTS
Saxophone (partie séparée)
987
Flûte traversière
783
Clarinette
770
Quatuor de Saxophones: 4 saxophones
738
Flûte traversière et Piano
717
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
667
2 Saxophones (duo)
649
Clarinette (partie séparée)
559
Flûte, Hautbois, Clarinette, Basson
497
Clarinette et Piano
450
Saxophone Alto
420
Hautbois, Piano (duo)
405
Quatuor de Clarinettes: 4 clarinettes
376
Saxophone Alto et Piano
369
2 Flûtes traversières (duo)
367
2 Clarinettes (duo)
352
Quintette de Saxophone: 5 saxophones
323
Saxophone
307
Saxophone Tenor et Piano
302
Hautbois (partie séparée)
288
Saxophone Soprano et Piano
226
Flute (partie séparée)
193
Saxophone Tenor
170
Flûte, Clarinette (duo)
167
Ensemble de Clarinettes
153
Quatuor de Flûtes : 4 flûtes
140
Ensemble de Flûtes
136
Saxophone, Clarinette (duo)
135
2 Hautbois (duo)
133
3 Saxophones (trio)
131
Ensemble de saxophones
123
3 Clarinettes (trio)
109
Flûte et Guitare
108
Saxophone Baryton, Piano
99
Hautbois, Basson (duo)
98
Clarinette, Violon (duo)
93
Flûte à bec Soprano
92
Hautbois
89
Clarinette, Trompette (duo)
86
2 Flûte à bec (duo)
79
Hautbois, Clarinette (duo)
76
Trio de Flûtes: 3 flûtes
75
Quintette de Clarinettes: 5 clarinettes
74
Flûte à Bec
73
Flûte à bec Alto
65
Harmonica
64
Cor anglais, Piano
57
Hautbois, Flûte
57
Flûte, Violon
53
Flûte, Alto (duo)
50
Clarinette et Alto
48
Flûte, Saxophone (duo)
47
Clarinette Basse, Piano
41
Quatuor de Flûtes à bec
39
Quintette de Flûte : 5 flûtes
38
Flûte, Trompette (duo)
38
Flûte, Clarinette et Basson
33
Clarinette, Basson (duo)
31
Saxophone Soprano
23
Flûte, Hautbois, Clarinette (trio)
23
Instruments en Mib
22
Flûte, Hautbois (duo)
22
5 Flûtes à bec
21
Flûte, Violoncelle
21
Flûte, Hautbois, Basson
21
Clarinette, Violoncelle (duo)
18
Hautbois, Clarinette, Basson (trio d'anches)
17
Clarinette, Guitare (duo)
15
Clarinette Basse
15
Cor Anglais
15
Flûte, Clarinette, Cor, Basson (Quartet)
14
Clarinette, Trombone (duo)
14
2 Saxophones, Piano
11
Saxophone Baryton
11
Flûte à bec Alto, Piano
11
Piccolo, Piano
10
Flûte, Clarinette, Piano (trio)
10
2 Clarinettes, Piano
10
Flûte à bec Tenor
10
Hautbois, Violoncelle
9
Flûte, Basson et Piano
9
Piccolo
9
Flûte à bec Soprano, Piano
9
3 Flûtes à bec (trio)
9
Flûte, Violoncelle, Piano (trio)
8
Saxophone et Guitare
8
3 Hautbois
8
Ensemble De Flûte à bec
7
Flûte, Violon et Violoncelle
6
Flûte traversière, Orgue (duo)
6
Flûte, Hautbois, Piano (trio)
6
Clarinette, Violoncelle, Piano (trio)
6
Hautbois, Guitare (duo)
5
Cor anglais, Guitare (duo)
5
2 Flûtes traversières, Piano
5
Ensemble à vent
5
Flute, harpe et violon
5
Saxophone et Orgue
4
Flûte, Alto et Piano
4
Flûte, Violon, Violoncelle et Piano
4
Ocarina
4
2 Clarinettes, Basson
4
Flûte, Trombone (duo)
4
Clarinette, Basson, Piano (trio)
4
Saxophone et Harpe
4
4 Hautbois
4
Flûte, Violon, Piano
4
Flûte à Bec, Piano
3
Saxophone, Basson (duo)
3
2 Cors Anglais Et Pianoforte
3
Hautbois et alto (duo)
3
Flûte, Alto et Violoncelle
2
Hautbois, violon (duo)
2
Flûte, trombone et piano
2
Flûte, Violon, Guitare
2
Clarinette, trompette et piano
2
Flûte, Tuba (duo)
2
Clarinette, Orgue
2
Flûte irlandaise
2
Ensemble de Hautbois
2
Clarinette, Harpe (duo)
2
Flûte et Trio à cordes
2
Hautbois, Harpe
2
Clarinette, Alto et Piano (trio)
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
2 Flûtes à bec, Guitare
1
Flûte, Hautbois, Violon
1
2 Hautbois et Cor anglais
1
Flûte, Clarinette, Violon (trio)
1
Flûte à bec Alto, Basse continue
1
2 Flûtes à bec, Piano
1
2 Harmonicas
1
Cornemuse
1
Hautbois, trombone (duo)
1
Flûte de Pan
1
Melodica
1
Hautbois, Violoncelle et Piano
1
Harmonica, Piano
1
Hautbois, Basson et Piano
1
2 Hautbois, Piano
1
Clarinette, Tuba
1
Flûte à bec, Guitare (duo)
1
Flûte traversière, Basse continue
1
Flûte, Harpe et Violoncelle
1
Flute, Cor (duo)
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1060
Trompette
575
Trompette (partie séparée)
568
Trombone (partie séparée)
534
Trombone
413
Trompette, Piano
411
Trombone et Piano
407
Cor
356
Quatuor de Cuivres : 2 trompettes, trombone, tuba
348
Cor (partie séparée)
290
Cor et Piano
276
2 Trompettes (duo)
211
2 Trombones (duo)
188
Tuba (partie séparée)
183
Quatuor de Cuivres
171
Tuba
166
Tuba et Piano
137
Quatuor de Cuivres: 2 trompettes, Cor, trombone
130
Trompette, Trombone (duo)
100
Trompette, Saxophone (duo)
99
2 Cors (duo)
92
Euphonium, Piano (duo)
82
Quatuor de cuivres: 4 trombones
80
Ensemble de Trompettes
64
Cor anglais, Piano
57
Ensemble de Trombones
57
Quatuor de cuivres: 4 cors
56
2 Euphoniums et 2 Tubas
43
Trompette, Cor (duo)
42
2 Tubas (duo)
39
Euphonium
37
Ensemble de Cors
36
Instruments en Sib
26
Quatuor de cuivres: 4 trompettes
26
Trio de Cuivres
24
Bass Clef Instruments
24
3 Trompettes (trio)
24
4 Tubas
23
Trombone, Tuba (duo)
22
Tuba et Orgue
20
3 Trombones (trio)
19
Tuba ou Euphonium ou Saxhorn
18
Cor Anglais
15
Quatuor de cuivres: 2 trompettes, 2 trombones
15
2 Euphoniums (duo)
12
Instruments en Fa
10
Trombone, Cor (duo)
9
Trombone basse et Piano
9
3 Cors (trio)
8
Trompette, Tuba (duo)
8
Euphonium, Tuba (duo)
7
Cor, Tuba (duo)
6
Trompette, Basson (duo)
6
Cor, Violoncelle (duo)
6
Trompette, Violoncelle (duo)
6
Trombone basse
5
Cor anglais, Guitare (duo)
5
Cor et Basson (duo)
4
Cornet A Pistons
4
Clarinette, Cor (duo)
4
Cornet et Piano
3
Trombone, Violon (duo)
3
3 Tubas (trio)
3
2 Cors Anglais Et Pianoforte
3
Cor et Harpe
3
Trombone, Orgue
3
Trompette, Orchestre
2
3 Euphoniums
2
2 Cors, Piano
2
Cor, Trompette, Trombone (trio)
2
2 Trompettes, Clavier (piano ou orgue)
2
Cor et Orgue
1
Trompette, Violoncelle et Piano
1
Trompette, Trombone, Piano
1
Ensemble de Tubas
1
Bugle
1
Cor, Orchestre
1
2 Trombones, Piano
1
Cornet et orchestre
1
Trompette, Euphonium (duo)
1
Trombone et orchestre
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1751
Violon
945
Violon et Piano
766
Violoncelle, Piano
539
Violon (partie séparée)
455
Alto seul
418
Violoncelle (partie séparée)
416
Alto, Piano
403
Violon, Violoncelle (duo)
354
2 Violons (duo)
308
Violoncelle
272
2 Violoncelles (duo)
268
Harpe
243
Quintette à cordes: 2 violons, alto, violoncelle, basse
211
Trio à Cordes: violon, alto, violoncelle
211
Contrebasse (partie séparée)
188
2 Altos (duo)
173
Violon, Alto (duo)
168
Alto (partie séparée)
158
Contre Basse
139
Contrebasse, Piano (duo)
95
Alto, Violoncelle (duo)
65
Trio à Cordes: 2 violons, violoncelle
63
Piano Trio: Violon, Alto, Piano
58
4 Violoncelles
52
Trio à Cordes: 3 violoncelles
34
Violon, Guitare (duo)
32
2 Harpes (duo)
22
Trio à cordes: 3 altos
21
Violoncelle , Guitare (duo)
21
Quatuor à cordes: 4 violons
20
2 Contrebasses (duo)
18
Trio à cordes
18
Violoncelle, Contrebasse (duo)
16
Trio à cordes: 3 violins
16
Quatuor à cordes : 4 altos
16
Trio à Cordes: 2 violons, alto
15
Violon, Basson (duo)
12
Harpe, Voix
12
Alto, Guitare (duo)
12
Harpe, Violon (duo)
9
Ensemble de Violons
9
Alto et Basson
8
Ensemble d'Altos
7
Quintette à cordes: 2 violons, 2 altos, violoncelle
7
Harpe, Flûte (duo)
7
Ensemble de Violoncelles
7
4 Contrebasses
6
2 Violons, Piano
6
Flûte, Contrebasse (duo)
5
Violoncelle, Orchestre
5
2 Violoncelles, Piano
5
Violon, Clarinette, Piano (trio)
5
Harpe (partie séparée)
4
Violon, Orgue
3
Harpe, Violoncelle (duo)
3
Violoncelle, Orgue
2
Alto et Harpe
2
Alto, Orgue
1
Harpe et Piano
1
Autoharp
1
Violon, Tuba (duo)
1
4 Harpes
1
2 Altos, Piano
1
Violon, Violoncelle, Clarinette
1
Harpe et mandoline
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
4999
Orchestre
1213
Orchestre à Cordes
1178
Ensemble de cuivres
444
Percussion (partie séparée)
394
Cloches
394
Ensemble Jazz
347
Fanfare
216
Orchestre de chambre
183
Batterie (partie séparée)
178
Batterie
111
Jazz combo
111
Percussion
96
Ensemble de Percussions
85
Timbales (partie séparée)
51
Marimba
37
Xylophone
20
Timbales
17
Vibraphone
17
Quintette à Vent
12
Xylophone, Piano
12
Piano et Orchestre
9
Ensemble d'École
8
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
8
Instrumentation Flexible
7
Quintette de Cuivres: autres combinaisons
6
Big band
3
Vibraphone et Marimba
2
Voix et Orchestre
1
Orchestre, Violon
1
Caisse Claire
1
Xylophone ou Marimba ou Vibraphone
1
Vibraphone (partie séparée)
1
Marimba ou Xylophone et Piano
1
3 Marimbas
1
Marimba, Piano (duo)
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
2
Théorie de la musique
1
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classica…
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Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Spiritual, Christmas. Score, Set of Parts. 113 pages. Published by www.mattrileymusic.com (S0.220841). - Score,Set of Parts - 21st Century,Contemporary Classical,Christian,Spiritual,Christmas - www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires an Advanced level of skill. Late Intermediate/Advanced and Early Intermediate level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions. Need part substitutions or help formatting/printing correctly? Email matt@mattrileymusic.com
$200.00
186.6 €
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Piano et Orchestre
#
Mykola Leontovych
#
Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
#
SheetMusicPlus
H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
Piano et Orchestre
Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - L…
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Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - Level 2 - Digital Download SKU: A0.981569 Composed by Wolfgang Amadeus Mozart. Arranged by Helios D'Andrea. Classical,Contemporary,Instructional. Score and parts. 12 pages. D'Andrea Helios #6735431. Published by D'Andrea Helios (A0.981569). Only variations on an original theme by Mozart.
$5.00
4.67 €
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Piano et Orchestre
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Wolfgang Amadeus Mozart
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Helios D'Andrea
#
H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
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D'Andrea Helios
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SheetMusicPlus
Concerto in C-Moll, Opus 12
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabrie…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabriel Pierne. Edited by Jenni Pinnock. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 12. 166 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-049-4). ISBN 9790501790494.Gabriel Pierne became well known as a conductor in Paris in the early 20 century; however, his compositional output became overshadowed by that of his contemporaries, including Saint-Saens. This early Concerto in c-moll is a hidden treasure, featuring virtuosic piano writing, powerful themes, and orchestral accompaniment that allows the brilliance of the soloist to shine through.
$26.95
25.14 €
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Piano et Orchestre
#
Gabriel Pierne
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Concerto in C-Moll, Opus 12
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Bisel Classics - Digital
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SheetMusicPlus
Konzert fur Piano und Orchester, Opus 15
Piano et Orchestre
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovan…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 15. 223 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-117-0). ISBN 9790501791170.The only piano concerto from this influential Italian composer, it is one characterised by the highest ideals of artistic merit. A substantial work in three movements it is a work of broad themes and even broader spirations. Enough to test the mettle of the most experienced and gifted of performers it is a work which will be remembered for its poetic grandeur as much as for its incendiary pianistic qualities.
$31.95
29.81 €
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Piano et Orchestre
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Giovanni Sgambati
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Konzert fur Piano und Orchester, Opus 15
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Bisel Classics - Digital
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SheetMusicPlus
Hatikvah. The national anthem of Israel. Easy piano.
Piano et Orchestre
Arranged by R.Sloboder. Jewish,Wedding,World. Score. 2 pages. Rivka Sloboder #573316…
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Arranged by R.Sloboder. Jewish,Wedding,World. Score. 2 pages. Rivka Sloboder #5733163. Published by Rivka Sloboder
$5.99
5.59 €
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Piano et Orchestre
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R
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Hatikvah. The national anthem of Israel. Easy piano.
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Rivka Sloboder
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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
22.38 €
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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
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola …
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Full Orchestra, Piano - Advanced Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 109 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See the preview pages for instrumentation and print/format instructions. The piano part requires a Late Intermediate/Advanced level of skill. Early Intermediate and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$150.00
139.95 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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SheetMusicPlus
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
Piano et Orchestre
Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovy…
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Full Orchestra, Piano - Intermediate - Digital Download Composed by Mykola Leontovych. Arranged by Matt Riley. 21st Century, Contemporary Classical, Christian, Sacred, Christmas. Score, Set of Parts. 107 pages. Published by www.mattrileymusic.com
Arranged by Matt Riley as part of his EPIC CHRISTMAS SERIES. Beautifully orchestrated with an epic cinematic sound and featuring a stunning piano part, this arrangement will amaze audiences. The sample recording includes some added pop style elements such as loops, synths and rhythm section but this piece can easy be performed without them which will give it a more traditional orchestral style. See preview pages for instrumentation and print/format instructions. The piano part requires an Early Intermediate level of skill. Late Intermediate/Advanced and Advanced level versions of this arrangement are also available on this site. Also check out Matt Riley's Piano and String orchestra versions.
$125.00
116.63 €
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Piano et Orchestre
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Mykola Leontovych
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Matt Riley
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Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
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www.mattrileymusic.com
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SheetMusicPlus
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