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PIANO & CLAVIERS
Piano seul
8959
Piano Facile
8409
Piano, Voix
3557
Piano, Voix et Guitare
2196
Instruments en Do
1174
Orgue
1083
Accordéon
1020
Accompagnement Piano
809
1 Piano, 4 mains
562
Piano Trio: piano, violon, violoncelle
285
Piano Quatuor: piano, 2 violons, violoncelle
104
2 Pianos, 4 mains
89
Piano Quatuor: piano, violon, alto, violoncelle
48
Piano grosses notes
41
1 Piano, 6 mains
41
Piano Quintette: piano, 2 violons, alto, violoncelle
30
Orgue, Piano (duo)
29
Piano (partie séparée)
28
Orgue, Trompette (duo)
19
Clavecin
9
Accordéon, Voix
9
2 Accordéons
7
Tous Les Instruments
5
Ensemble d'Accordéons
5
2 Pianos, 8 mains
5
Orgue, Voix
4
Accordéon, Piano
2
Clavier
2
Ensemble de Pianos
2
2 Orgues (duo)
1
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GUITARES
Guitare notes et tablatures
3433
Ligne De Mélodie, (Paroles) et Accords
1331
Ukulele
998
Guitare
812
Paroles et Accords
393
Mandoline
216
2 Guitares (duo)
205
Basse electrique
172
Banjo
111
Piano, Guitare (duo)
82
4 Guitares (Quatuor)
66
3 Guitares (trio)
49
Dulcimer
42
Ensemble de guitares
37
Guitare (partie séparée)
32
Guitare, Violon, Violoncelle (trio)
9
Mandoline, Guitare (duo)
9
Guitare, Flûte, Clarinette
7
2 Ukuleles
7
3 Dulcimers (trio)
5
Mandoline, Piano (duo)
4
Ensemble de Ukulélés
4
2 Dulcimers (duo)
3
Basse électrique (partie séparée)
2
Guitare, Orchestre
1
Ukulele Baryton
1
Cithare
1
Dobro
1
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VOIX
Chorale SATB
4215
Chorale 3 parties
2165
Chorale 2 parties
1684
Chorale TTBB
985
Chorale Unison
618
Voix duo, Piano
473
Chorale SSAA
374
Voix duo
269
Chorale
133
Voix seule
69
Voix basse, Piano
56
Voix Soprano, Piano
43
Voix Alto, Piano
40
Voix haute
28
Voix Tenor, Piano
28
Voix haute, Piano
22
Voix moyenne, Piano
22
Voix Tenor
17
Chorale SSATB
10
Chorale SSAATTBB
9
Voix Baryton, Piano
8
Chorale, Orgue
8
Voix basse
7
Chorale SSATTB
4
Voix, Guitare
3
Chorale SSAB a cappella
3
Voix Soprano
3
Chorale SAATB A Cappella
2
Voix Mezzo-Soprano, Piano
2
Chorale SSAATB
2
Chorale SATBB
1
Voix duo, Orgue
1
Voix Moyenne
1
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VENTS
Flûte traversière et Piano
1604
2 Saxophones (duo)
1484
Quatuor de Saxophones: 4 saxophones
1342
2 Flûtes traversières (duo)
1243
Clarinette et Piano
1059
Saxophone Alto et Piano
1016
Hautbois, Piano (duo)
1000
Flûte, Hautbois, Clarinette, Basson
942
2 Clarinettes (duo)
912
Flûte traversière
908
Saxophone Tenor et Piano
870
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
851
Clarinette
737
Quatuor de Clarinettes: 4 clarinettes
732
Saxophone (partie séparée)
654
Saxophone Soprano et Piano
536
Quatuor de Flûtes : 4 flûtes
485
3 Saxophones (trio)
473
Flûte, Clarinette (duo)
470
3 Clarinettes (trio)
470
Saxophone Alto
416
Trio de Flûtes: 3 flûtes
386
Quintette de Saxophone: 5 saxophones
368
Hautbois (partie séparée)
330
Flûte à bec Soprano
250
2 Hautbois (duo)
241
Hautbois, Basson (duo)
225
2 Flûte à bec (duo)
223
Flûte et Guitare
223
Harmonica
207
Flûte à bec Alto
202
Saxophone Baryton, Piano
198
Quintette de Clarinettes: 5 clarinettes
195
Ensemble de Clarinettes
171
Clarinette, Violon (duo)
170
Cor anglais, Piano
153
Saxophone, Clarinette (duo)
137
Hautbois, Clarinette (duo)
132
Clarinette, Basson (duo)
130
Flûte, Violoncelle
128
Flûte, Violon
125
Flûte, Clarinette, Piano (trio)
119
Flûte, Clarinette et Basson
116
Ensemble de saxophones
115
Ensemble de Flûtes
114
Hautbois, Clarinette, Basson (trio d'anches)
111
Flûte, Hautbois, Basson
110
Clarinette (partie séparée)
103
Flûte, Hautbois, Clarinette (trio)
101
Quatuor de Flûtes à bec
97
2 Flûtes traversières, Piano
96
Clarinette, Trompette (duo)
87
Hautbois
79
Clarinette et Alto
76
Flûte, Alto (duo)
76
Flûte à Bec
73
Flûte, Hautbois (duo)
72
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70
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69
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68
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64
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58
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57
Flûte, Violon et Violoncelle
57
2 Clarinettes, Piano
54
Clarinette, Harpe (duo)
48
Quintette de Flûte : 5 flûtes
45
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42
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41
Saxophone Tenor
40
Clarinette, Violoncelle, Piano (trio)
39
Flûte, Trompette (duo)
38
Saxophone Soprano
37
3 Hautbois
36
Clarinette Basse, Piano
35
Saxophone Baryton
34
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33
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Saxophone
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Saxophone et Harpe
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Flûte, trombone et piano
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Flûte, Alto et Piano
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Saxophone et Guitare
25
Hautbois, violon (duo)
24
Flûte, Trombone (duo)
24
Saxophone et Piano
23
Piccolo
20
5 Flûtes à bec
19
Cor anglais, Guitare (duo)
17
Cornemuse
17
Flûte, Hautbois, Violon
17
4 Hautbois
16
Hautbois, trombone (duo)
16
Piccolo, Piano
15
Saxophone et Orgue
14
Clarinette, Basson, Piano (trio)
14
Flûte, Clarinette, Violon (trio)
13
Clarinette, Tuba
13
Clarinette, trompette et piano
13
Flûte, Violon, Violoncelle et Piano
11
Clarinette, Trombone (duo)
11
Flûte à Bec, Piano
10
Flûte et Trio à cordes
10
Flûte, Tuba (duo)
10
Flûte, Violoncelle, Guitare
10
2 Hautbois, Piano
9
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9
Clarinette, Alto et Piano (trio)
9
Hautbois, Guitare (duo)
8
Saxophone, Basson (duo)
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2 Clarinettes, Basson
7
Flûte, Harpe et Violoncelle
7
Ocarina
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Clarinette, Contrebasse (duo)
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Clarinette Basse
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Flûte à bec, Guitare (duo)
6
Flûte traversière, Orgue (duo)
6
Hautbois, Violoncelle et Piano
6
Hautbois, Basson et Piano
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Flûte, Guitare, Piano
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Harmonica, Piano
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Hautbois, Violin, Alto et Violoncelle (Quatuor)
5
2 Flûtes traversières, Guitare
5
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
5
2 Cors Anglais Et Pianoforte
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Flûte, Violon, Guitare
5
2 Flûtes à bec, Piano
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Flûte, Clarinette, Cor, Basson (Quartet)
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Flute, Cor (duo)
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2 Flûtes traversières, Harpe
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Flute, harpe et violon
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Hautbois, Violon, Piano
3
Saxophone et violoncelle
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Flûte de Pan
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Clarinette, Saxophone, Piano
1
Melodica
1
Ensemble à vent
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Ensemble de Hautbois
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Flûte et Quatuor à Cordes
1
Instruments en Mib
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Cor anglais et Harpe (duo)
1
Flûte, Alto et Violoncelle
1
Clarinette, Orgue
1
Flûte à bec, Harpe
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CUIVRES
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1184
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1077
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Trompette
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589
Cor et Piano
575
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421
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382
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378
Trombone
373
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320
Cor
272
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247
2 Cors (duo)
225
Tuba et Piano
214
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202
Quatuor de cuivres: 4 cors
186
Trompette (partie séparée)
186
Tuba
186
Cor anglais, Piano
153
Trombone (partie séparée)
152
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138
Trio de Cuivres
125
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119
4 Tubas
113
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105
3 Trompettes (trio)
78
2 Tubas (duo)
74
Trompette, Tuba (duo)
73
3 Trombones (trio)
65
Quatuor de cuivres: 4 trompettes
63
Trombone, Tuba (duo)
54
Euphonium
49
Ensemble de Trombones
49
Cor (partie séparée)
49
Quatuor de cuivres: 2 trompettes, 2 trombones
43
2 Trompettes, Clavier (piano ou orgue)
39
Tuba (partie séparée)
34
Cor et Harpe
33
Tuba et Orgue
33
Trompette, Violoncelle (duo)
32
Cor, Tuba (duo)
31
Cor Anglais
30
Euphonium, Tuba (duo)
30
Ensemble de Trompettes
27
Trompette, Basson (duo)
26
Trompette, Harpe
25
Trombone, Violon (duo)
23
Cor, Trompette, Trombone (trio)
19
2 Euphoniums (duo)
19
Cor, Violoncelle (duo)
19
Ensemble de Cors
18
Cor et Basson (duo)
17
Cor anglais, Guitare (duo)
17
Trombone, Cor (duo)
17
Trompette, violon (duo)
16
3 Cors (trio)
14
Trombone, Orgue
14
Trombone basse
13
Trombone basse et Piano
11
Trompette, Violoncelle et Piano
10
Trompette, Trombone, Piano
8
2 Trombones, Piano
7
Cor et Orgue
5
2 Cors Anglais Et Pianoforte
5
Ensemble de Tubas
5
4 Euphoniums
4
Cornet A Pistons
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
Cor, Violoncelle et Piano
4
3 Tubas (trio)
4
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
3
2 Cors, Piano
3
Bass Clef Instruments
2
Tuba ou Euphonium ou Saxhorn
1
Trombone, Alto (duo)
1
Cor anglais et Harpe (duo)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2642
Violon et Piano
2255
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1372
Violon
1289
Alto, Piano
1201
Harpe
1080
2 Violons (duo)
914
Violon, Violoncelle (duo)
857
2 Violoncelles (duo)
691
Violoncelle (partie séparée)
648
Trio à Cordes: violon, alto, violoncelle
504
Alto seul
479
Violon, Alto (duo)
441
2 Altos (duo)
431
Quintette à cordes: 2 violons, alto, violoncelle, basse
306
Alto, Violoncelle (duo)
271
2 Harpes (duo)
262
Contre Basse
242
Contrebasse, Piano (duo)
214
Violoncelle
212
Piano Trio: Violon, Alto, Piano
191
Trio à Cordes: 2 violons, violoncelle
180
Violon (partie séparée)
175
Alto (partie séparée)
166
4 Violoncelles
161
Violon, Guitare (duo)
125
Trio à Cordes: 3 violoncelles
123
Trio à cordes: 3 violins
121
Quatuor à cordes: 4 violons
101
Harpe, Flûte (duo)
86
Harpe, Violon (duo)
78
Contrebasse (partie séparée)
77
Quatuor à cordes : 4 altos
76
2 Contrebasses (duo)
74
Trio à cordes: 3 altos
62
Violoncelle , Guitare (duo)
61
Violon, Basson (duo)
59
Harpe, Violoncelle (duo)
48
Violoncelle, Contrebasse (duo)
45
Alto et Basson
38
Alto, Guitare (duo)
35
Alto et Harpe
32
2 Violons, Piano
31
Trio à Cordes: 2 violons, alto
29
Violon, Tuba (duo)
19
Violon, Clarinette, Piano (trio)
18
Ensemble de Violoncelles
17
Trio à cordes
16
Harpe et Piano
12
Flûte, Contrebasse (duo)
12
Violoncelle, Orgue
12
Ensemble de Violons
12
3 Contrebasses
11
2 Violoncelles, Piano
11
Harpe, Voix
10
4 Contrebasses
9
Harpe et mandoline
7
Quintette à cordes: 2 violons, 2 altos, violoncelle
6
2 Altos, Piano
5
4 Harpes
5
Violon, Trompette et Piano
5
3 Harpes
5
Harpe, Violon, Violoncelle
4
Violon, Violoncelle, Clarinette
4
Ensemble d'Altos
4
Violon, Orgue
4
Harpe (partie séparée)
3
5 Harpes
2
Harpe, Orchestre
2
Harpe, Trombone (duo)
2
Autoharp
1
Violon, Contrebasse (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
2401
Orchestre à Cordes
926
Cloches
901
Ensemble de cuivres
643
Orchestre
634
Ensemble Jazz
297
Orchestre de chambre
204
Percussion (partie séparée)
95
Fanfare
92
Ensemble de Percussions
87
Jazz combo
63
Marimba
51
Batterie
39
Batterie (partie séparée)
27
Percussion
25
Quintette à Vent
24
Xylophone
24
Quatuor à Vent : 4 instruments à vents
20
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
16
Xylophone, Piano
14
Vibraphone
13
Timbales
10
Quintette de Cuivres: autres combinaisons
7
Timbales (partie séparée)
7
Instrumentation Flexible
5
Trio à Vent: 3 instruments à vents
5
Caisse Claire
5
Piano et Orchestre
4
3 Marimbas
3
Vibraphone, Piano
3
Vibraphone et Marimba
2
Xylophone ou Marimba ou Vibraphone
1
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AUTRES
Formation musicale - Solfège
2
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Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$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
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
186.57 €
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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 - 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
139.93 €
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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
#
www.mattrileymusic.com
#
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
116.6 €
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Piano et Orchestre
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Mykola Leontovych
#
Matt Riley
#
Carol of the Bells / God Rest Ye Merry Gentlemen - Piano and Orchestra
#
www.mattrileymusic.com
#
SheetMusicPlus
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