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Vous avez sélectionné:
With a Pebble
Partitions à imprimer
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With a Pebble
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1496114 By Andrew McD…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1496114 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Christian,Folk,Pop. Score. 7 pages. Andrew Mc Donald (Macka Records) #1072646. Published by Andrew Mc Donald (Macka Records) (A0.1496114). With a Pebble is a song about the story of David and Goliath. With a tiny pebble God can do big, make a big ripple and win with it! Though we are only little when we face a giant, God can defeat him with something little which is in our hand. This is the piano and vocal score.
$6.10
5.57 €
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Piano, Voix et Guitare
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Andrew McDonald
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Andrew McDonald
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With a Pebble
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Andrew Mc Donald
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SheetMusicPlus
A Pebble in the Water
Chorale 3 parties
SSA choir and Piano with optional Clarinet (With Optional Clarinet) - Digital Download …
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SSA choir and Piano with optional Clarinet (With Optional Clarinet) - Digital Download SKU: LX.15-3030H Composed by Victor C Johnson. Concert, Festival. Octavo. 16 pages. Heritage Music Press #e15/3030H. Published by Heritage Music Press (LX.15-3030H). ISBN 9781429132497.Soaring melodic lines, a rippling accompaniment, and a poignant text by American poet James W. Foley combine to create a superb work to showcase treble voices. Drop a word of cheer...And you've rolled a wave of comfort whose sweet music can be heard over miles and miles of water just by dropping one kind word..
$2.75
2.51 €
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Chorale 3 parties
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Victor C Johnson
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A Pebble in the Water
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Heritage Music Press
#
SheetMusicPlus
No people.
Cl.bsn-2hns-str(1.1.1.1.1) nonet - Digital Download SKU: S9.Q20914 For nonet…
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Cl.bsn-2hns-str(1.1.1.1.1) nonet - Digital Download SKU: S9.Q20914 For nonet. Composed by Gerald Barry. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 18 minutes. Schott Music - Digital #Q20914. Published by Schott Music - Digital (S9.Q20914). The title No people. comes from the surrealist Raymond Roussel. In 1932 he published a long poem called New Impressions of Africa. For this he commissioned 59 drawings to illustrate the text. The commission was given to the artist through a detective agency so he never knew who the commissioner was or saw the text he was supposed to illustrate. All he got was instructions for each drawing and he had to make the drawings accordingly. A typical instruction might be Nocturnal landscape. Very starry sky with a thin crescent of moon. (No people.) or A rambler, arm raised and fingers outspread, dropping a pebble (still visible) down a well and seemingly straining to hear the sound of its splash. (No other people.) When Roussel put the drawings and text together, the ordinary everyday drawings took on a strangeness they might otherwise not have had if the artist had drawn with the text in front of him. It's the juxtaposition of both unknowns - text/drawings - that gives the final work its strange quality. © Gerald Barry (2013).
$13.99
12.77 €
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Gerald Barry
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No people.
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Schott Music - Digital
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SheetMusicPlus
When David Killed Goliath
Chorale SATB
Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.972976 Composed by John W.…
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Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.972976 Composed by John W. Fisher. Children,Christian,Jewish,Praise & Worship,Sacred. Octavo. 8 pages. John Fisher #4744579. Published by John Fisher (A0.972976). This rhythmic versatile piece has elements of the well known Macarena telling the beloved story of David and Goliath with suggested motions for Bible schoolers, children's choir, concert choir or a mime. Sopranos tell the story until a quartet comes in and a bass sings the part of Goliath. the music has Saul's troops trembling and David whacking off Goliath's head. It is the literal brutality of the Old Testament. The sling shot move is from Zumba and it represents David hurling that little pebble which becomes the rock on which his faith in God is based.
$5.00
4.56 €
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Chorale SATB
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John W
#
When David Killed Goliath
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John Fisher
#
SheetMusicPlus
Hansel and Gretel
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1166822 Composed by Stanley Wilson.…
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Piano Solo - Level 2 - Digital Download SKU: A0.1166822 Composed by Stanley Wilson. 20th Century,Children,Classical. Score. 20 pages. Forsyth Brothers Ltd #767199. Published by Forsyth Brothers Ltd (A0.1166822). Sixteen easy piano pieces which portray the adventures of Hansel and Gretel, with a very convincing witch and a most charming young prince! Suggested grade 2Contents:The Poor WoodcutterHansel and GretelThe Cruel Step-MotherWhite PebblesThe Birds and the Bread-crumbsLost in the ForestThe WitchThe Magic WandThe Fairy PipeAt the Third BrookThe FawnThe Cottage in the WoodThe ChaseThe PrinceThe Spell BrokenWedding Bells.
$9.99
9.12 €
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Piano seul
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Stanley Wilson
#
Hansel and Gretel
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Forsyth Brothers Ltd
#
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)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
21.89 €
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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
The Flintstones
Guitar - Level 1 - Digital Download SKU: A0.1512730 Composed by David Louis Newman,…
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Guitar - Level 1 - Digital Download SKU: A0.1512730 Composed by David Louis Newman, Jeffrey Jerald Poskin, and Marty Frasu. Arranged by Marcelo Borba. Broadway,Comedy,Film/TV,Jazz,Musical/Show,Pop. Tablature. 2 pages. Marcelo Borba #1087682. Published by Marcelo Borba (A0.1512730). LEADSHEET STYLE - with tablature The theme song of The Flintstones cartoon is one of the most recognizable and beloved TV theme songs of all time. It was composed by the legendary American composer Hoyt Curtin, who also created music for many other Hanna-Barbera cartoons.The Flintstones theme song has a jaunty, prehistoric vibe that perfectly matches the show's Stone Age setting and comedic tone. The song features a catchy melody played by a small ensemble of instruments, including saxophones, trumpets, and drums, giving it a lively and upbeat feel.The lyrics of the theme song are simple and memorable, with the iconic opening line, Flintstones, meet the Flintstones, they're the modern stone-age family. The lyrics go on to describe the daily life of the Flintstone family, including Fred, Wilma, Pebbles, and their pet dinosaur, Dino.The Flintstones premiered in 1960 and was the first primetime animated series to air on American television. The theme song, with its catchy tune and catchy lyrics, became an integral part of the show's identity and helped to establish it as a classic of animation.Hoyt Curtin's musical composition for The Flintstones theme song has endured for decades, continuing to delight audiences of all ages with its nostalgic charm and timeless appeal. It remains one of the most iconic and beloved theme songs in the history of television.
$5.99
5.47 €
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David Louis Newman, Jeffrey Jerald Poskin, and Marty Frasu
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Marcelo Borba
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The Flintstones
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Marcelo Borba
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SheetMusicPlus
The Flintstones
Orff instruments Orff instruments - Level 1 - Digital Download SKU: A0.1433619 Comp…
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Orff instruments Orff instruments - Level 1 - Digital Download SKU: A0.1433619 Composed by David Louis Newman, Jeffrey Jerald Poskin, and Marty Frasu. Arranged by Marcelo Borba. Broadway,Film/TV,Halloween,Musical/Show,Standards,Thriller. 5 pages. Marcelo Borba #1013851. Published by Marcelo Borba (A0.1433619). For metallophone, alto and bass xylophone [ORFF] The theme song of The Flintstones cartoon is one of the most recognizable and beloved TV theme songs of all time. It was composed by the legendary American composer Hoyt Curtin, who also created music for many other Hanna-Barbera cartoons.The Flintstones theme song has a jaunty, prehistoric vibe that perfectly matches the show's Stone Age setting and comedic tone. The song features a catchy melody played by a small ensemble of instruments, including saxophones, trumpets, and drums, giving it a lively and upbeat feel.The lyrics of the theme song are simple and memorable, with the iconic opening line, Flintstones, meet the Flintstones, they're the modern stone-age family. The lyrics go on to describe the daily life of the Flintstone family, including Fred, Wilma, Pebbles, and their pet dinosaur, Dino.The Flintstones premiered in 1960 and was the first primetime animated series to air on American television. The theme song, with its catchy tune and catchy lyrics, became an integral part of the show's identity and helped to establish it as a classic of animation.Hoyt Curtin's musical composition for The Flintstones theme song has endured for decades, continuing to delight audiences of all ages with its nostalgic charm and timeless appeal. It remains one of the most iconic and beloved theme songs in the history of television.
$4.99
4.55 €
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David Louis Newman, Jeffrey Jerald Poskin, and Marty Frasu
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Marcelo Borba
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The Flintstones
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Marcelo Borba
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SheetMusicPlus
Pong Dang Pong Dang
Chorale 2 parties
2-part choir, Piano - Digital Download SKU: LX.15-3671H Arranged by Michael Ryan. E…
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2-part choir, Piano - Digital Download SKU: LX.15-3671H Arranged by Michael Ryan. Educational, Diversity Programming. Octavo. 8 pages. Heritage Music Press #e15/3671H. Published by Heritage Music Press (LX.15-3671H). ISBN 9780787765880.This popular Korean folk song is presented in a simply stated, authentic arrangement utilizing only a single octave range in both parts. The title refers to the 'plip-plop' of pebbles being thrown in the lake, as siblings interact on opposite sides with the waves they make. Perform with the original Korean text (pronunciation guide included) or sing with the alternate English lyrics included.
$2.40
2.19 €
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Chorale 2 parties
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Michael Ryan
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Pong Dang Pong Dang
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Heritage Music Press
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SheetMusicPlus
Ar Lan y Môr
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1229657 By Sylvia Miles. B…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1229657 By Sylvia Miles. By Traditional Welsh. Arranged by Sylvia Miles. Celtic,Folk,Irish,Wedding. Octavo. 3 pages. Sylvia Miles #825418. Published by Sylvia Miles (A0.1229657). Ar Lan y Môr is a popular tradtional Welsh folk song, and as with many folk songs, there are various versions. My personal preference is for this version; it paints a seashore picture that I can imagine, and I'm completely convinced by the romantic element!Musically speaking, I love the alternating 3 and 4 beat bars; they make me think of waves coming irregularly to the shore.Pronunciation notes: slight roll on all 'r' sounds; rye - 'ye' as in bye-bye; 'ch' as in loch, back of throat; 'll' is said H L - run them together 'hl'. Everything else is written phonetically.Translation: 1. Beside the sea grow red roses, and white lilies, and there lives my true love, sleeping all night and rising in the morning. 2. Down where the sea laps at the flat rock, we walked together, and spoke words of love; lilies grow there, and branches of rosemary.3. By the sea are blue pebbles, golden flowers, everything that's beautiful - and also my dearest sweetheart.
$2.50
2.28 €
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Chorale SATB
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Sylvia Miles
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Sylvia Miles
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Ar Lan y Môr
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Sylvia Miles
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SheetMusicPlus
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