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PIANO & KEYBOARDS
Piano, Vocal and Guitar
37732
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23674
Piano solo
23483
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10966
1 Piano, 4 hands
6645
Big Note Piano
5683
Organ
2834
C Instruments
1355
2 Pianos, 4 hands
897
Accordion
411
Piano Accompaniment
294
1 Piano, 6 hands
203
Piano Trio: piano, violin, cello
198
Solo instrument and Organ
135
Piano (band part)
133
Melody line, Piano
127
Accordion, Voice
122
2 Pianos, 8 hands
87
Piano Quartet: piano, violin, viola, cello
85
Keyboard
74
Piano Quintet: piano, 2 violins, viola, cello
48
Piano Quartet: piano, 2 violins, cello
29
Organ, Piano (duet)
24
Organ, Trumpet (duet)
17
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8
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4
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3
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3
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3
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2
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1
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1
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GUITARS
Guitar notes and tablatures
13162
Melody line, (Lyrics) and Chords
9006
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2371
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2348
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1431
Lyrics and Chords
998
Dulcimer
380
2 Guitars (duet)
208
Piano, Guitar (duet)
191
Guitar (band part)
183
Banjo
164
Mandolin
116
2 Dulcimers (duet)
58
4 Guitars (Quartet)
57
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55
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49
3 Guitars (trio)
35
Lap Steel Guitar
26
Baritone Ukulele
13
Band Scores
12
2 Ukuleles
12
Ukulele Ensemble
10
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6
Dobro
5
Mandolin, Guitar (duet)
4
Plectrum Orchestra
4
2 Mandolins (duet)
3
Guitar, Orchestra
2
Zither
2
Guitar Tab, Voice, Bass, Drum
1
Mandolin, Piano (duet)
1
Guitar, Flute, Clarinet
1
3 Dulcimers (trio)
1
Instrumentations suivantes
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VOICE
Choral SATB
7964
Choral 3-part
3033
Choral 2-part
1517
Choral TTBB
1287
Choral SSAA
688
Choral Unison
634
Vocal duet, Piano
355
Voice solo
329
Choral
329
Soprano voice, Piano
171
Vocal duet
139
Voice, Guitar
135
High voice
92
Low voice, Piano
91
Tenor voice, Piano
79
Medium voice, Piano
72
Baritone voice, Piano
60
High voice, Piano
50
Mezzo-Soprano voice, Piano
44
Choral SSATBB
27
Alto voice, Piano
24
Choral SSAATTBB
24
Choral SSATB
20
Choral SSATTB
16
Choral SSAB, Piano
14
Tenor voice
14
Low voice
9
Choral SATTB
7
Soli, Mixted choir and accompaniment
7
Choral SAATB A Cappella
6
Medium Voice
4
Choral SSAB a cappella
4
Choral, Organ
3
Soprano voice
3
Choral SATBB
3
Voix Masculines
3
Choral SSAATB
2
Vocal duet, Organ
2
Choral SATTBB A Cappella
2
Children choir
1
Baritone voice
1
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WOODWIND
Flute
2342
Clarinet
2145
Flute and Piano
1890
Saxophone (band part)
1753
Alto Saxophone
1716
Clarinet and Piano
1515
Tenor Saxophone
1299
Saxophone Quartet: 4 saxophones
1123
Oboe, Piano (duet)
1023
Saxophone
1019
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
1013
Alto Saxophone and Piano
938
Clarinet (band part)
820
2 Saxophones (duet)
783
Flute, Oboe, Clarinet, Bassoon
782
Tenor Saxophone and Piano
690
Clarinet Quartet: 4 clarinets
664
2 Flutes (duet)
547
2 Clarinets (duet)
496
Saxophone Quintet: 5 Saxophones
493
Oboe (band part)
485
Flute (band part)
461
Soprano Saxophone and Piano
386
Flute Quartet: 4 flutes
378
Clarinet Ensemble
285
Flute, Clarinet (duet)
251
Flute and Guitar
242
3 Saxophones (trio)
238
Harmonica
237
Saxophone ensemble
233
Baritone Saxophone, Piano
225
Eb Instruments
210
Flute ensemble
199
3 Clarinets (trio)
197
Flute Trio: 3 flutes
167
Oboe
162
2 Oboes (duet)
154
Descant (Soprano) Recorder
153
2 Recorders (duet)
152
English horn, Piano
152
Treble (Alto) Recorder
142
Clarinet Quintet: 5 clarinets
141
Recorder
140
Saxophone, Clarinet (duet)
139
Oboe, Bassoon (duet)
137
Clarinet, Violin (duet)
120
Clarinet, Guitar (duet)
110
Soprano Saxophone
105
Oboe, Clarinet (duet)
98
Recorder Quartet
92
Bass Clarinet, Piano
88
Clarinet, Bassoon (duet)
84
Flute, Violin
78
Flute Quintet : 5 flutes
78
Clarinet, Trumpet (duet)
73
Descent (Soprano) Recorder, Piano
64
Oboe, Guitar (duet)
59
Flute, Violoncello
59
Flute, Clarinet and Bassoon.
56
Flute, Oboe, Clarinet (trio)
56
Oboe, Clarinet, Bassoon (trio)
55
Oboe, Flute
54
Clarinet and Viola
54
Flute, Viola (duet)
52
Clarinet, Cello (duet)
51
Flute, Saxophone (duet)
47
Baritone Saxophone
42
Treble (Alto) Recorder, Piano
42
Oboe, Cello
41
Recorder Ensemble
38
Flute, Trumpet (duet)
37
3 Recorders (trio)
36
Flute, Oboe (duet)
34
English Horn
34
Tenor Recorder
31
Flute, Cello, Piano (trio)
29
Flute, Oboe, Bassoon
29
5 Recorders
28
Piccolo, Piano
26
Flute, Violin, Piano
25
Flute, Clarinet, Piano (trio)
25
2 Flutes, Piano
24
Clarinet, Harp (duet)
23
Bass Clarinet
23
Piccolo
21
Saxophone and Guitar
20
Ocarina
19
2 Clarinets, Piano
19
Flute, Trombone (duet)
19
Oboe and viola (duet)
19
Treble (Alto) Recorder, Basso continuo
19
English Horn, Guitar (duet)
18
2 Saxophones, Piano
17
Flute, Violin and Violoncello
17
Clarinet, Tuba
14
Saxophone and Piano
14
Flute, Oboe, Piano (trio)
13
Flute, Tuba (duet)
13
Pennywhistle
12
Oboe, Violin (duet)
11
Bagpipe
11
Flute, trombone and piano
11
Oboe, Trombone (duet)
10
Recorder, Piano
10
Saxophone and Harp
9
3 Oboes
9
Clarinet, Cello, Piano (trio)
9
Flute, Bassoon, and Piano
8
2 Clarinets, Bassoon
8
Flute, Organ (duet)
8
Flute, Clarinet, Horn and Bassoon (Quartet)
8
Flute, Cello, Guitar
8
Recorder, Guitar (duet)
7
Flute, harp and violin
7
Saxophone and Organ
7
Flute, Clarinet, Violin (trio)
7
Clarinet Quartet: Clarinet, Violin, Viola, Cello
7
Flute and Strings Trio
6
Wind ensemble
6
Flute, Oboe, Violin
6
4 Oboes
6
Flute, Harp and Cello
6
Clarinet, Bassoon, Piano (trio)
5
Oboe, Harp
5
Flute, Viola and Piano
5
2 English horns and Pianoforte
4
Clarinet, trumpet and piano
4
Flute, Basso continuo
4
Clarinet, Organ
4
Oboe, Bassoon and Piano
3
Flute and String Quartet
3
Oboe, Violin, Viola and Violoncello (Quartet)
3
Clarinet Quintet: Clarinet, String Quartet
3
Melodica
3
Clarinet, Trombone (duet)
3
Flute, Violin, Guitar
3
Oboe, Cello and Piano
3
Saxophone, Bassoon (duet)
3
Oboe ensemble
3
Harmonica, Piano
3
Pan Flute
3
Flute, Viola and harp
3
Flute, Violin, Violoncello and Piano
3
Oboe, Clarinet, Bassoon and Piano
2
Oboe, Clarinet and Piano (Trio)
2
English horn, Harp (duet)
2
2 Recorders, Piano
1
2 Oboes and English horn
1
Recorder, Harp
1
Clarinet, Orchestra
1
Flute, Orchestra
1
Saxophone, Violin (duet)
1
Clarinet, Double bass (duet)
1
Oboe, Violin, Piano
1
Clarinette, Viola and Piano (trio)
1
2 Flutes, 2 Clarinets (Quartet)
1
Saxophone and cello
1
Descant (Soprano) Recorder, Basso continuo
1
Saxophone, Tuba (duet)
1
3 Recorders, Piano
1
2 Oboes, 2 Horns and 2 Bassoons
1
Instrumentations suivantes
Retracter
WOODBRASS
Trumpet
2160
Trombone
1612
Brass Quintet: 2 trumpets, horn, trombone, tuba
1299
French horn
1160
Trumpet (band part)
1064
Trombone (band part)
927
Trumpet, Piano
865
Trombone and Piano
850
Brass quartet : 2 trumpets, trombone, tuba
673
French Horn and Piano
567
French horn (band part)
410
Tuba
361
Brass Quartet
337
Tuba and Piano
296
Bass Clef Instruments
293
2 Trombones (duet)
256
Bb Instruments
249
2 Trumpets (duet)
247
Tuba (band part)
224
Brass Quartet: 2 trumpets, horn, trombone
213
Euphonium, Piano (duet)
188
Trumpet, Trombone (duet)
188
Brass Quartet: 4 trombones
158
English horn, Piano
152
2 French horns (duet)
142
Euphonium
110
Trumpet ensemble
104
Trombone ensemble
97
Brass Quartet: 4 horns
91
Trumpet, Saxophone (duet)
89
2 Euphoniums and 2 Tubas
56
2 Tubas (duet)
55
Trumpet, Horn (duert)
48
Horn Ensemble
45
3 Trombones (trio)
44
Brass Quartet: 4 trumpets
43
Brass Trio
43
4 Tubas
40
English Horn
34
Trumpet, Tuba (duet)
34
Brass Quartet: 2 trumpets, 2 trombones
26
Trombone, Tuba (duet)
22
Tuba and Organ
22
Euphonium, Tuba (duet)
21
Trombone, Horn (duet)
19
Bass Trombone
18
English Horn, Guitar (duet)
18
3 Trumpets (trio)
18
F Instruments
17
Horn, Cello (duet)
16
Tuba or Euphonium or Saxhorn
15
2 Euphoniums (duet)
15
Bass Trombone and Piano
14
Trombone, Violin (duet)
14
Horn, Tuba (duet)
12
Clarinet, Horn (duet)
11
Cornet
11
3 Tubas (trio)
9
French Horn and Harp
9
3 French horns (trio)
8
2 Trumpets, Keyboard (piano or organ)
7
Trumpet, Cello (duet)
6
Brass Quintet: 2 trumpets, horn, 2 trombones
6
Trumpet, violin (duet)
5
2 English horns and Pianoforte
4
French horn and Basson (duet)
4
Trombone and Orchestra
4
Trumpet, Harp
4
Trumpet, Bassoon (duet)
3
Trumpet and Guitar
3
Trumpet, Orchestra
3
Trumpet, Trombone, Piano
3
Trombone, Organ
3
Horn and Organ
2
Tuba ensemble
2
English horn, Harp (duet)
2
3 Euphoniums
2
Flügelhorn
1
4 Euphoniums
1
Brass quartet : Horn, Trombone, Tuba, B-Flat Trumpet
1
Horn, Trumpet, Trombone (trio)
1
Trumpet, Cello, Piano
1
Bass Saxhorn or Euphonium or Tuba and Piano
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
3369
Violin
2421
Violin and Piano
2365
Cello
1823
Cello, Piano
1685
Harp
1577
Viola
1526
Viola, Piano
1299
Violin, Cello (duet)
694
Violin (band part)
679
Viola (band part)
596
2 Violins (duet)
590
String Trio: violin, viola, cello
466
2 Cellos (duet)
422
Doublebass (band part)
324
Violin, Viola (duet)
297
String Quintet: 2 violins, viola, cello, bass
295
Double bass, Piano (duet)
288
Cello (band part)
269
Double Bass
268
2 Violas (duet)
265
String Trio: 2 violins, cello
208
Viola, Cello (duet)
146
2 Harps (duet)
111
Violin, Guitar (duet)
108
4 Cellos
103
Cello, Guitar (duet)
100
String Trio: 3 cellos
62
Harp, Flute (duet)
62
String Trio: 3 violins
62
String quartet: 4 violins
58
Viola, Guitar (duet)
50
Piano Trio: Violin, Viola, Piano
47
2 Double basses (duet)
43
String trio
42
Violin, Bassoon (duet)
38
Cello, String Bass (duet)
34
String Quartet : 4 violas
33
Violin ensemble
29
Viola ensemble
28
String Trio: 3 violas
27
Harp, Violin (duet)
24
String Trio: 2 violins, viola
23
Violin, Basso continuo
22
Harp, Voice
18
String Quintet: 2 violins, 2 violas, cello
17
2 Violins, Piano
16
Viola and Bassoon
15
Harp, Cello (duet)
13
Violin, Tuba (duet)
13
Harp (band part)
11
Cello, Orchestra
7
Cello, Organ
7
Violin, Clarinet, Piano (trio)
7
Cello Ensemble
7
Viola and Harp
6
Harp and Piano
6
Flute, Doublebass (duet)
6
4 Double Basses
6
Harp, Violin, Violoncello
5
Harp, Trombone (duet)
5
Violin, Organ
4
2 Cellos, Piano
3
String Quintet: 2 violins, viola, 2 cellos
3
3 Harps
3
Violoncello, Basso continuo
2
Autoharp
2
Harp and mandolin
2
Viola, Organ
2
Harp, String quartet
1
5 Harps
1
Viola and orchestra
1
2 Violas, Piano
1
2 Violins and Basso
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
6911
String Orchestra
1771
Orchestra
1637
Jazz Ensemble
831
Brass ensemble
710
Drums
687
Handbells
579
Percussion (band part)
489
Marching band
447
Chamber Orchestra
374
Drum (band part)
313
Jazz combo
189
Percussion Ensemble
140
Percussion
102
Marimba
67
Timpani (band part)
53
Vibraphone
41
Xylophone, Piano
39
Xylophone
31
Flexible Instrumentation
24
Timpani
18
2 Xylophones
12
Woodwind Quintet
12
School Ensemble
8
Orchestra, Violin
7
Piano and Orchestra
7
Snare drums
6
Vibraphone (band part)
5
Woodwind Quartet: any 4 woodwinds
4
Vibraphone and Marimba
3
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
3
2 Marimbas
3
Brass Quintet: other combinaisons
3
Drums-Marching band
2
Xylophone (band part)
2
Big band
2
Woodwind Trio: any 3 woodwinds
1
Vibraphone, Piano
1
Xylophone or Marimba or Vibraphone
1
3 Marimbas
1
Marimba or Xylophone and Piano
1
Marimba, Piano (duet)
1
Symphonic Band
1
Bodhran
1
Conga
1
Bongos
1
Instrumentations suivantes
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OTHERS
Musical course - Solfege
18
Music Theory
4
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Piano and Orchestra
Sheetmusic to print
7 sheet music found
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1
Spanish Dance for Piano and Orchestra
Piano and Orchestra
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7 €
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Piano and Orchestra
#
Joseph Hull
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Spanish Dance for Piano and Orchestra
#
Genesis
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SheetMusicPlus
Concerto in C-Moll, Opus 12
Piano and Orchestra
Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabrie…
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Piano and orchestra - Digital Download SKU: BQ.979-0-50179-049-4 Composed by Gabriel Pierne. Edited by Jenni Pinnock. This edition: softcover. Bisel Classics. Orchestral score. With Text Language: English / German. Opus 12. 166 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-049-4). ISBN 9790501790494.Gabriel Pierne became well known as a conductor in Paris in the early 20 century; however, his compositional output became overshadowed by that of his contemporaries, including Saint-Saens. This early Concerto in c-moll is a hidden treasure, featuring virtuosic piano writing, powerful themes, and orchestral accompaniment that allows the brilliance of the soloist to shine through.
$26.95
24.41 €
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Piano and Orchestra
#
Gabriel Pierne
#
Concerto in C-Moll, Opus 12
#
Bisel Classics - Digital
#
SheetMusicPlus
Concerto No. 2 G minor
Piano and Orchestra
Composed by Camille Saint- Saens (1835-1921). This edition: study score. Ernst Eulenb…
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Composed by Camille Saint- Saens (1835-1921). This edition: study score. Ernst Eulenburg, Orchester, Partitur, Konzert. Eulenburg Miniature Scores. Downloadable. Op. 22. Duration 25 minutes. Schott Music - Digital #Q48708. Published by Schott Music - Digital
$15.99
14.48 €
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Piano and Orchestra
#
Camille Saint- Saens
#
Concerto No. 2 G minor
#
Schott Music - Digital
#
SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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