Version française
Browse Free-scores.com
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home page
Top Downloads
Instrumentations
Composers
New additions
Christmas
Other Services
Other Services
Top 100
Staff paper
Metronome
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
2
Digital
Sheet Music
5
Sheet Music
Books
42
Music
Equipment
508
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
PDF/Flash
Not classified
19698
PIANO & KEYBOARDS
Piano solo
33103
Easy Piano
5577
Big Note Piano
3708
Piano, Voice
3547
Piano, Vocal and Guitar
3061
Organ
2729
Accordion
2347
C Instruments
1343
1 Piano, 4 hands
575
Piano Accompaniment
534
Piano Trio: piano, violin, cello
198
Piano (band part)
127
2 Pianos, 4 hands
103
Keyboard
98
Piano Quartet: piano, 2 violins, cello
65
Piano Quartet: piano, violin, viola, cello
43
Organ, Piano (duet)
31
Organ, Trumpet (duet)
30
Harpsichord
28
1 Piano, 6 hands
27
Piano Quintet: piano, 2 violins, viola, cello
15
2 Pianos, 8 hands
3
All Instruments
2
2 Accordions
1
2 Organs (duet)
1
Piano ensembles
1
Instrumentations suivantes
Retracter
GUITARS
Guitar
5104
Bass guitar
3643
Guitar notes and tablatures
3260
Ukulele
1031
Melody line, (Lyrics) and Chords
990
Lyrics and Chords
426
Piano, Guitar (duet)
177
Guitar (band part)
156
2 Guitars (duet)
110
Mandolin
55
Banjo
52
Dulcimer
46
4 Guitars (Quartet)
33
3 Guitars (trio)
20
Ukulele Ensemble
20
Guitar Ensemble
16
Electric Bass (band part)
10
2 Ukuleles
10
2 Dulcimers (duet)
7
Baritone Ukulele
5
Lap Steel Guitar
5
Mandolin, Guitar (duet)
2
Guitar, Flute, Clarinet
2
Guitar, Violin, Cello (trio)
2
2 Mandolins (duet)
1
Plectrum Orchestra
1
3 Dulcimers (trio)
1
Guitar Tab, Voice, Bass, Drum
1
Guitar, String Quartet
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
6274
Voice solo
5852
Choral 3-part
2472
Choral 2-part
1999
Choral Instrumental Pak
1643
Choral TTBB
1068
Choral Unison
938
Vocal duet, Piano
555
Choral SSAA
522
Vocal duet
236
Soprano voice, Piano
216
Choral
185
Tenor voice, Piano
159
Alto voice, Piano
148
High voice
114
Low voice, Piano
78
Baritone voice, Piano
77
Medium voice, Piano
32
Tenor voice
28
Choral SSATB
16
Choral SSAATTBB
13
Low voice
10
Mezzo-Soprano voice, Piano
9
Soprano voice
9
Choral SSATTB
8
Choral SSAB, Piano
5
Soli, Mixted choir and accompaniment
4
Voice, Guitar
2
Choral SSAATB
2
Choral SATBB
2
Choral SAATB A Cappella
2
High voice, Piano
1
Choral SATTBB A Cappella
1
Choral SSAB a cappella
1
Instrumentations suivantes
Retracter
WOODWIND
Saxophone
16629
Flute
8553
Clarinet
7799
Alto Saxophone
1979
Tenor Saxophone
1820
Flute and Piano
1648
2 Saxophones (duet)
1363
Saxophone Quartet: 4 saxophones
1341
Saxophone (band part)
1329
Clarinet and Piano
1323
Recorder
1237
Oboe, Piano (duet)
1195
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
1033
Alto Saxophone and Piano
1027
Flute, Oboe, Clarinet, Bassoon
961
Tenor Saxophone and Piano
871
Oboe
860
2 Flutes (duet)
852
Clarinet Quartet: 4 clarinets
679
2 Clarinets (duet)
674
Soprano Saxophone
668
Clarinet (band part)
611
Oboe (band part)
543
3 Saxophones (trio)
467
Soprano Saxophone and Piano
465
Saxophone Quintet: 5 Saxophones
390
Flute Quartet: 4 flutes
390
Flute (band part)
353
Flute, Clarinet (duet)
345
3 Clarinets (trio)
333
Baritone Saxophone, Piano
244
2 Recorders (duet)
239
2 Oboes (duet)
235
Flute Trio: 3 flutes
211
Oboe, Bassoon (duet)
198
Flute ensemble
189
Clarinet, Violin (duet)
181
Clarinet Quintet: 5 clarinets
170
English horn, Piano
170
Oboe, Clarinet (duet)
169
Clarinet Ensemble
168
Saxophone, Clarinet (duet)
141
Saxophone ensemble
140
Flute, Violin, Piano
134
Flute, Violin
120
Flute, Clarinet and Bassoon.
120
Flute, Oboe, Clarinet (trio)
113
Clarinet, Trumpet (duet)
95
Oboe, Flute
93
Descant (Soprano) Recorder
87
Clarinet, Bassoon (duet)
84
Flute, Violoncello
81
Bass Clarinet, Piano
79
Flute, Oboe, Bassoon
79
Flute, Viola (duet)
78
Flute and Guitar
77
Baritone Saxophone
72
Clarinet and Viola
70
Oboe, Clarinet, Bassoon (trio)
69
Flute, Trumpet (duet)
66
Flute, Saxophone (duet)
63
Flute Quintet : 5 flutes
61
Flute, Oboe (duet)
60
Harmonica
51
Flute, Violin and Violoncello
49
Treble (Alto) Recorder
48
Flute, Clarinet, Piano (trio)
46
Oboe, Cello
46
Oboe, Violin (duet)
45
Recorder Quartet
44
English Horn
42
Clarinet, Harp (duet)
42
Clarinet, Cello (duet)
40
2 Clarinets, Piano
36
2 Flutes, Piano
34
Flute, Trombone (duet)
34
Flute, Bassoon, and Piano
30
Oboe, Harp
29
Flute, Oboe, Piano (trio)
29
Flute, Cello, Piano (trio)
28
Clarinet, Cello, Piano (trio)
28
Piccolo
26
Saxophone and Harp
26
Clarinet, Guitar (duet)
25
Clarinet, Trombone (duet)
25
2 Saxophones, Piano
24
Oboe and viola (duet)
23
Recorder Ensemble
22
3 Oboes
21
Bass Clarinet
20
Flute, Viola and Piano
19
Piccolo, Piano
19
Ocarina
19
Clarinet, Tuba
18
Tenor Recorder
18
Oboe, Trombone (duet)
18
Saxophone and Organ
16
Flute, Tuba (duet)
16
Treble (Alto) Recorder, Piano
15
Flute, Violin, Violoncello and Piano
14
3 Recorders (trio)
14
2 Clarinets, Bassoon
13
Flute, trombone and piano
13
Descent (Soprano) Recorder, Piano
12
Eb Instruments
12
Oboe, Guitar (duet)
10
4 Oboes
9
Saxophone and Guitar
9
Clarinette, Viola and Piano (trio)
9
5 Recorders
8
Saxophone, Tuba (duet)
8
Recorder, Piano
8
Clarinet, trumpet and piano
8
Clarinet, Bassoon, Piano (trio)
8
Flute, Oboe, Violin
7
Saxophone, Bassoon (duet)
6
Harmonica, Piano
4
Flute, French horn (duet)
4
Saxophone and cello
4
Flute, Clarinet, Violin (trio)
4
Wind ensemble
4
Flute, Organ (duet)
4
2 Oboes and Basson
3
Clarinet, Organ
3
Oboe, Trumpet (duet)
3
Clarinet, Double bass (duet)
3
Flute and Strings Trio
3
Pennywhistle
3
Flute, Harp and Cello
3
Flute, Cello, Guitar
3
Saxophone, Violin (duet)
3
Pan Flute
2
Flute, harp and violin
2
English horn, Harp (duet)
2
2 Recorders, Piano
2
2 English horns and Pianoforte
2
Bagpipe
2
Saxophone and Piano
2
Flute, Clarinet, Horn and Bassoon (Quartet)
2
Oboe, Bassoon and Piano
2
Oboe ensemble
2
Oboe, Violin, Piano
2
Clarinet, Orchestra
1
Recorder, Guitar (duet)
1
Clarinet Quintet: Clarinet, String Quartet
1
English Horn, Guitar (duet)
1
Flute and String Quartet
1
Flute, Viola and Cello
1
Oboe, Clarinet and Piano (Trio)
1
Flute, Viola and harp
1
2 Oboes, Piano
1
Oboe, Clarinet, Bassoon and Piano
1
2 Flutes and Guitar
1
Clarinet Quartet: Clarinet, Violin, Viola, Cello
1
Flute, Guitar, Piano
1
Oboe, Violin, Viola and Violoncello (Quartet)
1
2 Flutes and Harp
1
Instrumentations suivantes
Retracter
WOODBRASS
Trumpet
7105
Trombone
6414
Brass Quintet: 2 trumpets, horn, trombone, tuba
1042
French horn
1037
Trumpet, Piano
956
Trumpet (band part)
888
Trombone and Piano
871
Trombone (band part)
816
Brass quartet : 2 trumpets, trombone, tuba
688
Tuba
615
French Horn and Piano
583
2 Trumpets (duet)
453
Euphonium
417
2 Trombones (duet)
345
Tuba and Piano
304
Brass Quartet: 2 trumpets, horn, trombone
293
Trumpet, Trombone (duet)
277
French horn (band part)
275
Brass Quartet
275
Tuba (band part)
240
2 French horns (duet)
220
English horn, Piano
170
Brass Quartet: 4 trombones
160
Trumpet, Saxophone (duet)
129
Euphonium, Piano (duet)
110
Brass Trio
108
Trumpet, Horn (duert)
103
Brass Quartet: 4 horns
92
Trumpet, Tuba (duet)
91
2 Tubas (duet)
75
Trombone, Tuba (duet)
64
3 Trumpets (trio)
54
2 Euphoniums and 2 Tubas
54
3 Trombones (trio)
48
Brass Quartet: 4 trumpets
46
Trombone ensemble
44
English Horn
42
2 Euphoniums (duet)
30
French Horn and Harp
29
Trumpet ensemble
28
Trombone, Violin (duet)
27
Trumpet, Harp
24
Bass Clef Instruments
23
Trombone, cello (duet)
22
Tuba and Organ
22
Bass Trombone
21
4 Tubas
20
Horn, Tuba (duet)
20
Trombone, Organ
18
Brass Quartet: 2 trumpets, 2 trombones
18
Trombone, Horn (duet)
17
Horn Ensemble
16
2 Trumpets, Keyboard (piano or organ)
15
3 French horns (trio)
14
Tuba or Euphonium or Saxhorn
12
Horn, Cello (duet)
12
Trumpet, Bassoon (duet)
11
Bb Instruments
11
Trumpet, Cello (duet)
11
Euphonium, Tuba (duet)
10
Bass Trombone and Piano
10
Trumpet, Cello, Piano
9
Clarinet, Horn (duet)
8
Trumpet, Trombone, Piano
8
3 Tubas (trio)
7
Horn and Organ
6
French horn and Basson (duet)
6
Cornet
4
4 Euphoniums
4
Trumpet, violin (duet)
3
Trombone, Viola (duet)
3
Brass Quintet: 2 trumpets, horn, 2 trombones
3
English horn, Harp (duet)
2
2 English horns and Pianoforte
2
2 French horns, Piano
2
Brass quartet : Horn, Trombone, Tuba, B-Flat Trumpet
2
Horn, Trumpet, Trombone (trio)
1
Tuba ensemble
1
Trumpet and Guitar
1
Cornet and Piano
1
English Horn, Guitar (duet)
1
Instrumentations suivantes
Retracter
STRINGS
Violin
5582
Cello
3801
String Quartet: 2 violins, viola, cello
3204
Viola
3057
Violin and Piano
2105
Cello, Piano
1355
Viola, Piano
1186
Violin, Cello (duet)
840
Harp
819
2 Violins (duet)
775
String Trio: violin, viola, cello
599
Violin (band part)
575
2 Cellos (duet)
532
Double Bass
513
Violin, Viola (duet)
436
2 Violas (duet)
397
Doublebass (band part)
323
Double bass, Piano (duet)
297
String Quintet: 2 violins, viola, cello, bass
279
Viola (band part)
245
Viola, Cello (duet)
244
String Trio: 2 violins, cello
226
2 Harps (duet)
205
Cello (band part)
164
String Trio: 3 violins
145
Piano Trio: Violin, Viola, Piano
103
String Trio: 3 cellos
87
4 Cellos
85
Harp, Flute (duet)
72
2 Double basses (duet)
64
Harp, Violin (duet)
63
String quartet: 4 violins
58
Violin, Bassoon (duet)
52
Harp, Cello (duet)
45
String Trio: 3 violas
44
2 Violins, Piano
40
String Quartet : 4 violas
38
String Trio: 2 violins, viola
37
Viola and Harp
33
Cello, String Bass (duet)
32
Violin, Guitar (duet)
32
Cello, Guitar (duet)
28
String trio
23
Violin, Tuba (duet)
23
String Quintet: 2 violins, viola, 2 cellos
17
Viola and Bassoon
15
Harp, Voice
15
Violin, Clarinet, Piano (trio)
13
Cello, Organ
13
Viola, Guitar (duet)
10
String Quintet: 2 violins, 2 violas, cello
10
Flute, Doublebass (duet)
10
2 Cellos, Piano
9
Violin ensemble
9
Harp, Trombone (duet)
6
Violin, Trumpet and Piano
6
4 Harps
5
Violin, Organ
5
3 Harps
4
Harp (band part)
4
Viola ensemble
4
2 Violas, Piano
3
Harp and Piano
3
Viola, Organ
3
Cello Ensemble
3
Harp, Violin, Violoncello
2
Harp, Orchestra
2
4 Double Basses
1
Harp and mandolin
1
Violin, Cello, Clarinet
1
Cello, Orchestra
1
Viola and orchestra
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Drums
6042
Concert band
5760
Orchestra
2416
String Orchestra
1295
Jazz Ensemble
1023
Handbells
790
Marching band
632
Brass ensemble
526
Percussion (band part)
463
Chamber Orchestra
260
Percussion
225
Jazz combo
204
Drum (band part)
140
Percussion Ensemble
127
Timpani (band part)
75
Marimba
53
Timpani
29
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
21
Xylophone
19
Xylophone, Piano
16
Vibraphone
13
2 Xylophones
5
Brass Quintet: other combinaisons
5
Piano and Orchestra
5
Big band
4
Woodwind Quintet
4
Snare drums
3
Vibraphone (band part)
3
Flexible Instrumentation
2
Voice Mezzo-Soprano, Orchestra
1
Vibraphone and Marimba
1
2 Marimbas
1
Conga
1
3 Marimbas
1
Woodwind Quartet: any 4 woodwinds
1
Bongos
1
Instrumentations suivantes
Retracter
OTHERS
Musical course - Solfege
45
Music Theory
1
You've selected:
DAY BY DAY
PDF
Piano and Orchestra
Sheetmusic to print
5 sheet music found
<
1
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
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 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
O Holy Night- Arranged for Piano and String orchestra
Piano and Orchestra
Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contem…
(+)
Composed by Adolphe-Charles Adam (1803-1856). Arranged by Ognyan Petrov. Christian, Contemporary Christian, Spiritual, Sacred, Christmas. Score, Set of Parts. 22 pages. Published by Ognyan Petrov (S0.88877). - Score,Set of Parts - Christian,Contemporary Christian,Spiritual,Sacred,Christmas - Ognyan Petrov
This is an arrangement especially made for 2015 Holiday Contest.Very melodical line in Piano part, combined with lyric strings accompaniment.
$19.50
17.88 €
#
Piano and Orchestra
#
Adolphe-Charles Adam
#
O Holy Night- Arranged for Piano and String orchestra
#
Ognyan Petrov
#
SheetMusicPlus
Klavierkonzert in C-Dur, Opus 7
Piano and Orchestra
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedr…
(+)
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-055-5 Composed by Friedrich Kuhlau. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 7. 191 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-055-5). ISBN 9790501790555.Exhibiting a natural talent for pastiche and an almost overwhelming abundance of original musical thought the Piano Concerto in C opus 7 took Beethoven's famous Piano Concerto in C opus 15 as its inspiration. Premiere performances of the concerto in Copenhagen 1811, secured a future for the German born composer as a Danish Romantic icon for future generations and this concerto is part of his legacy: as fresh and serene today as the day of its first performance.
$26.95
24.72 €
#
Piano and Orchestra
#
Friedrich Kuhlau
#
Klavierkonzert in C-Dur, Opus 7
#
Bisel Classics - Digital
#
SheetMusicPlus
Good Friday
Piano and Orchestra
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contempo…
(+)
Composed by Stephen DeCesare. For Piano, Voice, Flute, Choral. Sacred, Christian, Contemporary Christian. Early Intermediate. Sheet Music Single. Published by Exultet Music
$3.99
3.66 €
#
Piano and Orchestra
#
Stephen DeCesare
#
Good Friday
#
Exultet Music
#
SheetMusicPlus
<
1
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version