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PIANO & KEYBOARDS
Piano, Vocal and Guitar
37763
Piano, Voice
23706
Piano solo
23608
Easy Piano
11121
1 Piano, 4 hands
6749
Big Note Piano
5723
Organ
2848
C Instruments
1434
2 Pianos, 4 hands
903
Accordion
421
Piano Accompaniment
294
Piano Trio: piano, violin, cello
220
1 Piano, 6 hands
206
Solo instrument and Organ
135
Piano (band part)
134
Melody line, Piano
127
Accordion, Voice
123
2 Pianos, 8 hands
87
Piano Quartet: piano, violin, viola, cello
85
Keyboard
74
Piano Quintet: piano, 2 violins, viola, cello
50
Piano Quartet: piano, 2 violins, cello
29
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24
Organ, Trumpet (duet)
18
Organ, Voice
8
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4
Harpsichord
3
Accordion ensemble
3
2 Accordions
3
Accordion - Piano, Voice, Guitar chords
2
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1
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1
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1
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1
Instrumentations suivantes
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GUITARS
Guitar notes and tablatures
13187
Melody line, (Lyrics) and Chords
9044
Guitar
2405
Ukulele
2357
Bass guitar
1449
Lyrics and Chords
1010
Dulcimer
384
2 Guitars (duet)
227
Piano, Guitar (duet)
191
Guitar (band part)
186
Banjo
168
Mandolin
122
4 Guitars (Quartet)
65
2 Dulcimers (duet)
58
Electric Bass (band part)
54
Guitar Ensemble
49
3 Guitars (trio)
35
Lap Steel Guitar
26
Baritone Ukulele
13
Band Scores
12
2 Ukuleles
12
Ukulele Ensemble
10
Guitar, Violin, Cello (trio)
6
Dobro
5
Plectrum Orchestra
4
Mandolin, Guitar (duet)
4
2 Mandolins (duet)
3
Zither
2
Guitar, Orchestra
2
Guitar, Flute, Clarinet
1
Mandolin, Piano (duet)
1
3 Dulcimers (trio)
1
Guitar Tab, Voice, Bass, Drum
1
Instrumentations suivantes
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VOICE
Choral SATB
8201
Choral 3-part
3062
Choral 2-part
1530
Choral TTBB
1303
Choral SSAA
701
Choral Unison
638
Vocal duet, Piano
364
Voice solo
331
Choral
329
Soprano voice, Piano
199
Vocal duet
139
High voice
137
Voice, Guitar
135
Tenor voice, Piano
133
Baritone voice, Piano
112
Low voice, Piano
91
Alto voice, Piano
79
Medium voice, Piano
76
High voice, Piano
50
Mezzo-Soprano voice, Piano
44
Choral SSATBB
27
Choral SSAATTBB
24
Choral SSATB
20
Choral SSATTB
16
Tenor voice
14
Choral SSAB, Piano
14
Low voice
9
Choral SATTB
7
Soli, Mixted choir and accompaniment
7
Choral SAATB A Cappella
6
Choral SSAB a cappella
5
Medium Voice
4
Choral, Organ
3
Voix Masculines
3
Soprano voice
3
Choral SATBB
3
Choral SATTBB A Cappella
2
Vocal duet, Organ
2
Choral SSAATB
2
Baritone voice
1
Children choir
1
Instrumentations suivantes
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WOODWIND
Flute
2359
Clarinet
2166
Flute and Piano
1902
Alto Saxophone
1726
Saxophone (band part)
1704
Clarinet and Piano
1531
Tenor Saxophone
1307
Saxophone Quartet: 4 saxophones
1140
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
1036
Oboe, Piano (duet)
1031
Saxophone
1021
Alto Saxophone and Piano
945
2 Saxophones (duet)
823
Clarinet (band part)
779
Flute, Oboe, Clarinet, Bassoon
778
Tenor Saxophone and Piano
696
Clarinet Quartet: 4 clarinets
669
2 Flutes (duet)
609
2 Clarinets (duet)
507
Saxophone Quintet: 5 Saxophones
494
Oboe (band part)
484
Flute (band part)
461
Soprano Saxophone and Piano
388
Flute Quartet: 4 flutes
381
Clarinet Ensemble
285
Flute, Clarinet (duet)
253
Harmonica
253
3 Saxophones (trio)
249
Flute and Guitar
248
Saxophone ensemble
239
Baritone Saxophone, Piano
225
Eb Instruments
210
3 Clarinets (trio)
207
Flute ensemble
203
Flute Trio: 3 flutes
173
Oboe
168
2 Recorders (duet)
158
2 Oboes (duet)
157
English horn, Piano
156
Descant (Soprano) Recorder
153
Ocarina
144
Clarinet Quintet: 5 clarinets
142
Treble (Alto) Recorder
142
Recorder
140
Saxophone, Clarinet (duet)
139
Oboe, Bassoon (duet)
139
Clarinet, Violin (duet)
120
Clarinet, Guitar (duet)
116
Soprano Saxophone
112
Bass Clarinet, Piano
97
Oboe, Clarinet (duet)
97
Recorder Quartet
94
Clarinet, Bassoon (duet)
84
Flute, Violin
80
Flute Quintet : 5 flutes
79
Clarinet, Trumpet (duet)
73
Descent (Soprano) Recorder, Piano
63
Flute, Violoncello
62
Flute, Clarinet and Bassoon.
62
Oboe, Guitar (duet)
60
Flute, Oboe, Clarinet (trio)
60
Flute, Viola (duet)
59
Oboe, Clarinet, Bassoon (trio)
58
Oboe, Flute
54
Clarinet and Viola
54
Clarinet, Cello (duet)
51
Baritone Saxophone
48
Flute, Saxophone (duet)
47
Oboe, Cello
43
Treble (Alto) Recorder, Piano
42
Flute, Trumpet (duet)
38
Recorder Ensemble
38
3 Recorders (trio)
36
Flute, Oboe (duet)
34
English Horn
34
Flute, Oboe, Bassoon
33
Tenor Recorder
31
Flute, Cello, Piano (trio)
29
5 Recorders
28
Flute, Violin, Piano
28
Flute, Clarinet, Piano (trio)
27
Piccolo, Piano
26
2 Flutes, Piano
24
Clarinet, Harp (duet)
23
Oboe and viola (duet)
23
Bass Clarinet
23
Piccolo
21
Flute, Trombone (duet)
20
2 Clarinets, Piano
20
Saxophone and Guitar
20
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, Tuba (duet)
13
Flute, Oboe, Piano (trio)
13
Pennywhistle
12
Clarinet, Trombone (duet)
12
Oboe, Violin (duet)
11
Bagpipe
11
Flute, trombone and piano
11
Oboe, Trombone (duet)
10
Recorder, Piano
10
Flute, harp and violin
9
Saxophone and Harp
9
3 Oboes
9
Clarinet, Cello, Piano (trio)
9
Flute, Organ (duet)
8
Flute, Cello, Guitar
8
2 Clarinets, Bassoon
8
Flute, Bassoon, and Piano
8
Flute, Clarinet, Horn and Bassoon (Quartet)
8
Flute, Clarinet, Violin (trio)
7
Clarinet Quartet: Clarinet, Violin, Viola, Cello
7
Recorder, Guitar (duet)
7
Saxophone and Organ
7
4 Oboes
6
Flute, Harp and Cello
6
Flute and Strings Trio
6
Wind ensemble
6
Flute, Oboe, Violin
6
Oboe, Harp
5
Flute, Viola and Piano
5
Clarinet, Bassoon, Piano (trio)
5
Clarinet, trumpet and piano
4
Flute, Basso continuo
4
Clarinet, Organ
4
2 English horns and Pianoforte
4
Saxophone, Bassoon (duet)
3
Melodica
3
Flute, Viola and harp
3
Oboe, Bassoon and Piano
3
Pan Flute
3
Oboe, Cello and Piano
3
Oboe, Clarinet and Piano (Trio)
3
Clarinet Quintet: Clarinet, String Quartet
3
Flute and String Quartet
3
Oboe, Violin, Viola and Violoncello (Quartet)
3
Flute, Violin, Violoncello and Piano
3
Oboe ensemble
3
Harmonica, Piano
3
Flute, Violin, Guitar
3
Oboe, Trumpet (duet)
2
English horn, Harp (duet)
2
Oboe, Clarinet, Bassoon and Piano
2
Flute, Orchestra
1
3 Recorders, Piano
1
Oboe, Violin, Piano
1
2 Recorders, Piano
1
Clarinet, Double bass (duet)
1
2 Flutes, 2 Clarinets (Quartet)
1
Saxophone, Violin (duet)
1
2 Oboes and English horn
1
Descant (Soprano) Recorder, Basso continuo
1
Recorder, Harp
1
Clarinette, Viola and Piano (trio)
1
Clarinet, Orchestra
1
Saxophone and cello
1
Saxophone, Tuba (duet)
1
2 Oboes, 2 Horns and 2 Bassoons
1
Instrumentations suivantes
Retracter
WOODBRASS
Trumpet
2177
Trombone
1630
Brass Quintet: 2 trumpets, horn, trombone, tuba
1327
French horn
1168
Trumpet (band part)
1031
Trombone (band part)
881
Trumpet, Piano
877
Trombone and Piano
859
Brass quartet : 2 trumpets, trombone, tuba
679
French Horn and Piano
576
French horn (band part)
381
Tuba
363
Brass Quartet
340
Tuba and Piano
299
Bass Clef Instruments
293
2 Trombones (duet)
260
2 Trumpets (duet)
251
Bb Instruments
249
Tuba (band part)
213
Brass Quartet: 2 trumpets, horn, trombone
212
Trumpet, Trombone (duet)
191
Euphonium, Piano (duet)
190
Brass Quartet: 4 trombones
159
English horn, Piano
156
2 French horns (duet)
142
Euphonium
112
Trumpet ensemble
105
Trombone ensemble
98
Brass Quartet: 4 horns
91
Trumpet, Saxophone (duet)
89
2 Euphoniums and 2 Tubas
56
2 Tubas (duet)
55
Trumpet, Horn (duert)
49
3 Trombones (trio)
46
Brass Trio
45
Horn Ensemble
45
Brass Quartet: 4 trumpets
44
4 Tubas
40
Trumpet, Tuba (duet)
38
English Horn
34
Brass Quartet: 2 trumpets, 2 trombones
26
Tuba and Organ
22
Trombone, Tuba (duet)
22
Euphonium, Tuba (duet)
21
3 Trumpets (trio)
21
Trombone, Horn (duet)
19
Bass Trombone
18
English Horn, Guitar (duet)
18
F Instruments
17
Horn, Cello (duet)
16
2 Euphoniums (duet)
15
Tuba or Euphonium or Saxhorn
15
Trombone, Violin (duet)
14
Bass Trombone and Piano
14
Horn, Tuba (duet)
12
Clarinet, Horn (duet)
11
Cornet
11
French Horn and Harp
9
3 Tubas (trio)
9
3 French horns (trio)
8
2 Trumpets, Keyboard (piano or organ)
7
Trombone, cello (duet)
6
Brass Quintet: 2 trumpets, horn, 2 trombones
6
Trumpet, Cello (duet)
6
Trumpet, violin (duet)
5
Trumpet, Cello, Piano
5
Trombone and Orchestra
4
French horn and Basson (duet)
4
2 English horns and Pianoforte
4
Trumpet, Harp
4
Trumpet and Guitar
3
Trumpet, Bassoon (duet)
3
Trumpet, Orchestra
3
Trumpet, Trombone, Piano
3
Trombone, Organ
3
Tuba ensemble
2
English horn, Harp (duet)
2
3 Euphoniums
2
Horn and Organ
2
Flügelhorn
1
Horn, Trumpet, Trombone (trio)
1
4 Euphoniums
1
Bass Saxhorn or Euphonium or Tuba and Piano
1
Brass quartet : Horn, Trombone, Tuba, B-Flat Trumpet
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
3409
Violin
2435
Violin and Piano
2399
Cello
1840
Cello, Piano
1698
Harp
1595
Viola
1551
Viola, Piano
1312
Violin, Cello (duet)
705
Violin (band part)
679
2 Violins (duet)
600
Viola (band part)
586
String Trio: violin, viola, cello
472
2 Cellos (duet)
429
Doublebass (band part)
326
Violin, Viola (duet)
303
String Quintet: 2 violins, viola, cello, bass
295
Double bass, Piano (duet)
288
Double Bass
270
Cello (band part)
270
2 Violas (duet)
269
String Trio: 2 violins, cello
224
Viola, Cello (duet)
146
2 Harps (duet)
111
Violin, Guitar (duet)
111
4 Cellos
103
Cello, Guitar (duet)
101
String Trio: 3 violins
81
String Trio: 3 cellos
63
Harp, Flute (duet)
62
String quartet: 4 violins
58
Viola, Guitar (duet)
52
Piano Trio: Violin, Viola, Piano
47
2 Double basses (duet)
43
String trio
42
Violin, Bassoon (duet)
40
Cello, String Bass (duet)
34
String Quartet : 4 violas
33
String Trio: 2 violins, viola
29
Violin ensemble
29
String Trio: 3 violas
28
Viola ensemble
28
Harp, Violin (duet)
24
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 Ensemble
7
Violin, Clarinet, Piano (trio)
7
Cello, Orchestra
7
Cello, Organ
7
Viola and Harp
6
4 Double Basses
6
Harp and Piano
6
Flute, Doublebass (duet)
6
Harp, Violin, Violoncello
5
Harp, Trombone (duet)
5
Violin, Organ
4
String Quintet: 2 violins, viola, 2 cellos
3
3 Harps
3
2 Cellos, Piano
3
Viola, Organ
2
Autoharp
2
Violoncello, Basso continuo
2
Harp and mandolin
2
2 Violas, Piano
1
Viola and orchestra
1
5 Harps
1
2 Violins and Basso
1
Harp, String quartet
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
7271
String Orchestra
1787
Orchestra
1665
Jazz Ensemble
871
Brass ensemble
720
Drums
711
Handbells
603
Marching band
456
Percussion (band part)
429
Chamber Orchestra
405
Drum (band part)
316
Jazz combo
198
Percussion Ensemble
141
Percussion
102
Marimba
67
Timpani (band part)
53
Vibraphone
41
Xylophone, Piano
41
Xylophone
32
Flexible Instrumentation
24
2 Xylophones
18
Timpani
18
Woodwind Quintet
12
School Ensemble
8
Piano and Orchestra
7
Orchestra, Violin
7
Snare drums
6
Vibraphone (band part)
5
Woodwind Quartet: any 4 woodwinds
4
2 Marimbas
3
Brass Quintet: other combinaisons
3
Vibraphone and Marimba
3
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
3
Drums-Marching band
2
Big band
2
Xylophone (band part)
2
Bongos
1
Vibraphone, Piano
1
3 Marimbas
1
Symphonic Band
1
Xylophone or Marimba or Vibraphone
1
Bodhran
1
Marimba, Piano (duet)
1
Marimba or Xylophone and Piano
1
Woodwind Trio: any 3 woodwinds
1
Conga
1
Instrumentations suivantes
Retracter
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
7.02 €
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Piano and Orchestra
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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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
24.46 €
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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
14.52 €
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Piano and Orchestra
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Camille Saint- Saens
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Concerto No. 2 G minor
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Schott Music - Digital
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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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