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You've selected:
Come Fly With Me - F Horn
Sheetmusic to print
24 sheet music found
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1
Come Fly With Me
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1403120
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1403120 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Kayleigh Huelin. Jazz,Standards. 10 pages. Kayleigh Huelin #986320. Published by Kayleigh Huelin (A0.1403120). A big band and dance band classic, 'Come Fly With Me' is one of Frank Sinatra's most famous songs and is a great example of mid-century popular music orchestration. This arrangement for brass quintet retains the big band phrasing and stylings of the Sinatra original. It is a piece that is musically complex but which is light and fun enough for both players and listeners alike to enjoy, and works well in casual and formal settings - a great addition to gig or concert repertoire!Like this? Why not check out my website for more arrangements: www.khuelinmusic.co.uk.
$24.99
23.08 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Frank Sinatra
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Come Fly With Me
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Kayleigh Huelin
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SheetMusicPlus
Come Fly With Me
Brass Quartet: 2 trumpets, horn, trombone
Brass Quartet Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.1312495 By…
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Brass Quartet Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.1312495 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Kayleigh Huelin. Jazz,Standards. 8 pages. Kayleigh Huelin #901353. Published by Kayleigh Huelin (A0.1312495). A big band and dance band classic, 'Come Fly With Me' is one of Frank Sinatra's most famous songs and is a great example of mid-century popular music orchestration. This arrangement for brass quartet retains the big band phrasing and stylings of the Sinatra original. It is a piece that is musically complex but which is light and fun enough for both players and listeners alike to enjoy, and works well in casual and formal settings - a great addition to gig or concert repertoire!Like this? Why not check out my website for more arrangements: www.khuelinmusic.co.uk.
$19.99
18.46 €
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Brass Quartet: 2 trumpets, horn, trombone
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Frank Sinatra
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Come Fly With Me
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Kayleigh Huelin
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SheetMusicPlus
Come Fly With Me
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1288593 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Kayleigh Huelin. Jazz,Pop,Standards. 10 pages. Kayleigh Huelin #879549. Published by Kayleigh Huelin (A0.1288593). A big band and dance band classic, 'Come Fly With Me' is one of Frank Sinatra's most famous songs and is a great example of mid-century popular music orchestration. This arrangement for wind quintet retains the big band phrasing and stylings of the Sinatra original. It is a piece that is musically complex but which is light and fun enough for both players and listeners alike to enjoy, and works well in casual and formal settings - a great addition to gig or concert repertoire!Like this? Why not check out my website for more arrangements: www.khuelinmusic.co.uk.
$19.99
18.46 €
#
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Frank Sinatra
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Come Fly With Me
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Kayleigh Huelin
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SheetMusicPlus
Come Fly With Me
French horn
French Horn Solo - Interactive Download SKU: HX.330425 By Frank Sinatra. This editi…
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French Horn Solo - Interactive Download SKU: HX.330425 By Frank Sinatra. This edition: Interactive Download,scorch. Jazz,Standards. Individual part. 1 pages. Published by Hal Leonard - Digital (HX.330425).
$2.99
2.76 €
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French horn
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Frank Sinatra
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Come Fly With Me
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Hal Leonard - Digital
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SheetMusicPlus
Come Fly With Me
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1453792 By Frank Sinatra. By Ja…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1453792 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Matt Amy. Broadway,Contemporary,Film/TV,Jazz,Musical/Show,Pop. 99 pages. Matt Amy Music #1033041. Published by Matt Amy Music (A0.1453792). Key: Bb majorBPM: 144Style: SwingDuration: 2:58“ Ensemble type: Pops OrchestraFull Recording (MIDI): Come Fly With Me (MIDI)Instrumentation- Flute 1, 2- Oboe 1, 2- Clarinet 1, 2- Bassoon 1, 2- Horn 1, 2- Horn 3, 4- Trumpet 1, 2, 3- Trombone 1, 2, 3- Tuba- Voice- Piano- Guitar- Acoustic Bass (Rhythm Section)- Drums- Percussion 1- Percussion 2 - Timpani- Harp- Violin 1- Violin 2- Viola- Cello- ContrabassClick the following link for more arrangements by Matt AmyContact Matt here
$75.00
69.26 €
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Orchestra
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Frank Sinatra
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Come Fly With Me
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Matt Amy Music
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SheetMusicPlus
Come Fly With Me
Jazz Ensemble
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.790233 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.790233 Composed by James Van Heusen. Arranged by Nigel Hanley. Jazz. Score and parts. 19 pages. Nigel Hanley Music #4317653. Published by Nigel Hanley Music (A0.790233). This chart is a 7-piece swing band arrangement of ‘Come Fly With Me’ as recorded by Frank Sinatra. The instrumentation is:keyboards guitar bassdrumstrumpettenor saxtrombone The keyboard/piano part has cues for horns, which means the chart will work with various instrumentations, ie, from a trio up to a septet. This chart is written in G, for female vocalists.
$24.99
23.08 €
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Jazz Ensemble
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James Van Heusen
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Come Fly With Me
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Nigel Hanley Music
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SheetMusicPlus
Come Fly With Me - Bb Horn/Flugelhorn
Marching band Bb Horn/Flugelhorn - Level 4 - Digital Download SKU: HX.232138 Compos…
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Marching band Bb Horn/Flugelhorn - Level 4 - Digital Download SKU: HX.232138 Composed by James Van Heusen and Sammy Cahn. Arranged by Paul Murtha and Will Rapp. Film/TV,Standards. Individual instrument part. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.232138).
$6.00
5.54 €
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James Van Heusen and Sammy Cahn
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Come Fly With Me - Bb Horn/Flugelhorn
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Hal Leonard - Digital
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SheetMusicPlus
Come Fly With Me
Large Ensemble,Strings Clarinet,Drums,English Horn,Flute,Piano,Trumpet - Level 4 - Digital…
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Large Ensemble,Strings Clarinet,Drums,English Horn,Flute,Piano,Trumpet - Level 4 - Digital Download SKU: A0.802771 Composed by James Van Heusen. Arranged by Graham Hall (ghmusicprep.com). Contemporary. Score and parts. 75 pages. Ghmusicprep.com #6683087. Published by ghmusicprep.com (A0.802771). For Sinfonia Viva.
$29.99
27.7 €
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James Van Heusen
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Come Fly With Me
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ghmusicprep.com
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SheetMusicPlus
Come Fly With Me To The Casbah
Baritone Horn TC,Vocal Solo,Voice - Level 2 - Digital Download SKU: A0.618439 Compo…
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Baritone Horn TC,Vocal Solo,Voice - Level 2 - Digital Download SKU: A0.618439 Composed by Stephen DeCesare. Broadway,Film/TV,Latin,Musical/Show. 9 pages. Exultet Music #2023567. Published by Exultet Music (A0.618439). Passionate musical-theatre song that is featured song in Abelard & Heloise: the musical which can be obtained on this site. Scored for Tenor Solo, and Piano. A rehearsal and an accompaniment track are also available.Video Review: https://www.youtube.com/watch?v=86iB1IoeMvw
$3.99
3.68 €
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Stephen DeCesare
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Come Fly With Me To The Casbah
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Exultet Music
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SheetMusicPlus
Come Fly With Me
Large Ensemble Bass Voice,Cello,Double Bass,Drums,Guitar,Keyboard,Percussion,Piano,Saxopho…
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Large Ensemble Bass Voice,Cello,Double Bass,Drums,Guitar,Keyboard,Percussion,Piano,Saxophone,Trombone,Trumpet,Viola,Violin - Level 4 - Digital Download SKU: A0.717672 Composed by James Van Heusen. Arranged by Daryl McKenzie. Jazz. Score and parts. 60 pages. Daryl McKenzie #3096857. Published by Daryl McKenzie (A0.717672). Sinatra Classic arranged for Big Band (5 Saxes with Flute double on Alto 1, 4 Trumpets, 4 Trombones, Piano/Gtr, Bass, Drums), optional Strings (Vln 1, Vln 2, Vla, Vcl, CB) and Male Vocal (vocal part not included). Key of Bb major. Includes addition 2nd Keyboard part (Strings and mallet percussion) and additional Percussion part (Xylo/Glock).Same Arrangement for Small Band (3 Horns) also available on SMPMore Arrangements by Daryl McKenzie: https://www.sheetmusicplus.com/publishers/daryl-mckenzie/6128
$79.99
73.87 €
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James Van Heusen
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Come Fly With Me
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Daryl McKenzie
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SheetMusicPlus
Come Fly With Me - Baritone B.C.
Saxhorn / baritone b.c. (band part)
Marching band Baritone B.C. - Level 4 - Digital Download SKU: HX.232141 Composed by…
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Marching band Baritone B.C. - Level 4 - Digital Download SKU: HX.232141 Composed by James Van Heusen and Sammy Cahn. Arranged by Paul Murtha and Will Rapp. Film/TV,Standards. Individual instrument part. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.232141).
$6.00
5.54 €
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Saxhorn / baritone b.c. (band part)
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James Van Heusen and Sammy Cahn
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Come Fly With Me - Baritone B.C.
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Hal Leonard - Digital
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SheetMusicPlus
Come Fly With Me - Baritone T.C.
Saxhorn / baritone b.c. (band part)
Marching band Baritone T.C. - Level 4 - Digital Download SKU: HX.232142 Composed by…
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Marching band Baritone T.C. - Level 4 - Digital Download SKU: HX.232142 Composed by James Van Heusen and Sammy Cahn. Arranged by Paul Murtha and Will Rapp. Film/TV,Standards. Individual instrument part. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.232142).
$6.00
5.54 €
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Saxhorn / baritone b.c. (band part)
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James Van Heusen and Sammy Cahn
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Come Fly With Me - Baritone T.C.
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Hal Leonard - Digital
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SheetMusicPlus
Sammy Cahn: Come Fly With Me - horn solo
French horn
Instantly printable sheet music by Sammy Cahn for horn solo of MEDIUM skill level. / jazz,…
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Instantly printable sheet music by Sammy Cahn for horn solo of MEDIUM skill level. / jazz,standards
$2.97
2.74 €
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French horn
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Sammy Cahn
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Virtualsheetmusic
Come Fly With Me (for Brass Quintet)
Brass Quintet: 2 trumpets, horn, trombone, tuba
By Frank Sinatra. Arranged by Kenneth Abeling. Score, Set of Parts. 19 pages. Published by…
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By Frank Sinatra. Arranged by Kenneth Abeling. Score, Set of Parts. 19 pages. Published by LINCOLN MUSIC PUBLICATIONS (H0.218595-153125). - Score,Set of Parts - - LINCOLN MUSIC PUBLICATIONS
?Come FlyWith Me? Words and Music by Sammy Cahn and JamesVan Heusen and arranged here for Brass Quintet. This is an intermediate to advanced intermediatelevel arrangement of a jazz standard. To view and listen to this piece in itsentirety as well as hundreds of other arrangements and transcriptions byKenneth Abeling at the lowest prices available please visit www.lincolnmusicpublications.com. Playing time: 3:06
$14.99
13.84 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Frank Sinatra
#
Come Fly With Me
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LINCOLN MUSIC PUBLICATIONS
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SheetMusicPlus
Come Fly with Me by Frank Sinatra - French Horn Solo
French horn
Performed by: Frank Sinatra: Come Fly With Me Digital Sheetmusic - instantly downloadable …
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Performed by: Frank Sinatra: Come Fly With Me Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: Instrumental Solo, instruments: French Horn; 1 pages -- Jazz~~Jazz Standards~~Swing~~Standards~~Traditional Pop
$2.99
2.76 €
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French horn
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Frank Sinatra
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French Horn Solo
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Musicnotes
Fly Me To The Moon (In Other Words)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.1362700 By Tony Bennett. By Bart Howard. Arranged by Rita Arendz. 20th Century,Contemporary,Jazz,Standards. Brass Band. 53 pages. Rita Arendz #947088. Published by Rita Arendz (A0.1362700). FLY ME TO THE MOON by Bart Howard for Brass BandWritten in 1954 by American Jazz composer Bart Howard, Fly Me To the Moon (In Other Words) has become a standard worldwide. Â Originally sung by Kaye Ballard, it has been performed by other greats such as Frank Sinatra, Tony Bennett, Diana Krall, and Paul Anka, just to name a few.It has even crossed into other genres, such as metal rock with a cover by Mike, the Become the Knight, and played on a Gayageum by Luna Lee.This arrangement is for a British style Brass Band opening in a bel canto ballad style of Tony Bennett, continuing into the Big Band Swing Style of Sinatra, with a little bit of a jazz waltz that Fred Astaire and Ginger Rogers would have loved before returning to the Ballad style for the close.A great crowd-pleaser!Duration ~3:45 Â 53 pages.
$58.99
54.48 €
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Tony Bennett
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Fly Me To The Moon
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Rita Arendz
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SheetMusicPlus
Fly Me To The Moon (in Other Words)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.1152364 By Tony Bennett. By Bart Howard. Arranged by Chris North. 20th Century,Film/TV,Jazz,Standards. Brass Band. 43 pages. Danetre Music #752587. Published by Danetre Music (A0.1152364). A solo arrangement for E-Flat Bass (Tuba) and U.K. style Brass Band. Medium Swing tempo with a walking bass line in accompaniment as well as some original jazzy bits to enjoy. Lightly scored so the soloist comes through the textures without too much of a struggle. The opening two bars features a solo snare drum with brushes to set the scene. A really cool intermediate / advanced tuba solo to add to your repertoire. Duration 2:30.
$24.99
23.08 €
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Tony Bennett
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Fly Me To The Moon
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Danetre Music
#
SheetMusicPlus
Cinnamon Rolls (for Brass Quintet)
Brass Quintet: 2 trumpets, horn, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158388 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158388 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Comedy. 22 pages. Https://gildedmusicpress.com/ #758669. Published by https://gildedmusicpress.com/ (A0.1158388). My wife’s from-scratch cinnamon rolls are famous throughout our community—especially among our children’s circle of friends. While enjoying a socially-distanced church service at home on Easter Sunday, there was a batch of those butterfly-inducing cinnamon rolls baking in the new oven. They filled the home with an exquisite aromatic delight. Then the magic motif chimed: “The food is done!†I happened to have my composition notebook with me, and the little four-note tune inspired this composition. It just naturally took me in some happy musical directions, and within a minute or two, the melodic content, replete with fun-filled, muted second-trumpet echoes, was scrawled down. The next day, the music was entered into the computer. It is interesting that I gave the horn the cliché off-beats that all hornists know and love so well. Funny, I usually pride myself on writing for horn as an equal musical instrument; however, this fun, happy melody just demanded an “um-pah†accompaniment. Hopefully there is enough variety to keep the part fun to play. It helps that the piece is only two minutes and something long. The transition into the B section almost wrote itself, modulating to the relative minor. There I paused briefly, wondering how to treat a minor section in such an exuberant piece. Oh, but inspiration continued to flow, and I resumed writing in earnest with a mischievous smile! This section beautifully portrays a naughty, sneaky kid tiptoeing into the kitchen for another cinnamon roll—forbidden until after dinner! The listener can hear the kid’s nervous fluttering heart, and moments of pulling his hand back in startled impishness, and even shuddering as he looks fearfully over his shoulder. At the end of the B section, he gets caught! Witnessing that low-hanging head and puppy dog eyes, mommy finds that she can’t scold the lad too severely. “After dinner, little one…†she reprimands with an understanding grin. The jubilant melody returns to round out the work’s ternary ABA form, though this time with a very sticky Ives-esque climax, reminiscent of a gooey cinnamon roll mess. Too enjoyable to be bothered by prospects of cleaning up, the music shrugs it off with flippant ragtime syncopations, and ends with the “hic-burp†of a very satisfied tummy.
$19.95
18.42 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Dr
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Cinnamon Rolls
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https://gildedmusicpress.com/
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SheetMusicPlus
Come Fly With Me: for Horn Quartet
Brass Quartet: 4 horns
By Frank Sinatra. Arranged by Petey C. Score, Set of Parts. 14 pages. Published by Petey C…
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By Frank Sinatra. Arranged by Petey C. Score, Set of Parts. 14 pages. Published by Petey C. (H0.196263-153125). - Score,Set of Parts - - Petey C.
$12.99
12 €
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Brass Quartet: 4 horns
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Frank Sinatra
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Come Fly With Me: for Horn Quartet
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Petey C.
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SheetMusicPlus
Never Land
Small Ensemble B-Flat Clarinet,Cello,Horn,Piano,Voice - Level 3 - Digital Download SKU:…
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Small Ensemble B-Flat Clarinet,Cello,Horn,Piano,Voice - Level 3 - Digital Download SKU: A0.1031778 Composed by Mavis Pan. Contemporary. Score and parts. 15 pages. Mavis Pan Music #3554423. Published by Mavis Pan Music (A0.1031778). This composition is inspired by the Disney film, Peter Pan, which depicts a fictional character who is incredibly mischievous and charming yet possess the spirit of eternal youth. After Peter finds Wendy Darling, who has always believed in Peter Pan's existence and loves to share tales about him, Peter invites Wendy to an adventure to Never Land. Though Wendy doubts her ability to fly, Peter teaches her the only way to reach her dream land is to leave her worries behind and have faith and trust and a little help of pixie dust... Upon the farewell of a beloved who reminds me much the character of Peter Pan, I composed this piece as a remembrance of the happy time we have shared and wish his dreams come true as he continues to fly on his musical journey. Mavis Pan Come with me where dreams are born, and time is never planned. Just think of happy things and your heart will fly on wings, forever, in Never Land. Let not doubt crush your wings, let not fear steal your dreams. Dreams do come true, if only we wish hard enough. All you need is faith and trust and a little bit of pixie dust. I am young at heart for my love never grows old. The wrinkle of time can't be traced on my innocent soul. The ship of our dreams will soar and turn to gold. Oh darling please do hold my hand, and dream with me to Never Land. Fly oh fly , fly straight till the morning. Fly ...oh fly....oh fly and never never say goodbye.
$20.00
18.47 €
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Mavis Pan
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Never Land
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Mavis Pan Music
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SheetMusicPlus
Come Fly With Me (3 horns and rhythm section)
Jazz combo
By Frank Sinatra. Arranged by Matt Amy. Individual Part, Lead Sheet, Score, Set of Parts. …
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By Frank Sinatra. Arranged by Matt Amy. Individual Part, Lead Sheet, Score, Set of Parts. 32 pages. Published by Matt Amy Music (H0.324779-153125). - Individual Part,Lead Sheet,Score,Set of Parts - - Matt Amy Music
$30.00
27.71 €
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Jazz combo
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Frank Sinatra
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Come Fly With Me
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Matt Amy Music
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SheetMusicPlus
Take the "A" Train
Piano, Vocal and Guitar
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015639 Composed by Billy Stray…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015639 Composed by Billy Strayhorn. Standards. 3 pages. Alfred Music - Digital Sheet Music #00-PS-0015639. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0015639). ISBN 9780739094860. UPC: 038081456881.This massive songbook is packed with sheet music for 75 of the most memorable standards for all occasions! Dozens of gems from the golden years of 20th Century pop and jazz are joined by traditional melodies in this collection of essential songs that belong in every musician's repertoire. Titles: Ain't Misbehavin' * All of Me * America the Beautiful * At Last * The Best Is Yet to Come * Blue Moon * Butterfly * Chattanooga Choo Choo * Dance Little Bird (a.k.a. The Chicken Dance) * Danny Boy (Londonderry Air) * Deep Purple * Don't Get Around Much Anymore * Don't Sit Under the Apple Tree * Dream a Little Dream of Me * Elmer's Tune * Fly Me to the Moon * Havah Nagilah * Heart * Hernando's Hideaway * Hey There! * Hi-Lili, Hi-Lo * Hit the Road Jack * I Don't Know Why (I Just Do) * I Let a Song Go out of My Heart * I Put a Spell on You * I Wanna Be Loved by You * I'm a Little Mixed Up * I'm Gonna Sit Right Down and Write Myself a Letter * I'm in the Mood for Love * Laura * Leaving on a Jet Plane * The Lion Sleeps Tonight * Love Is a Many Splendored Thing * Love Story (Where Do I Begin) * Misty * Mood Indigo * Moonlight Serenade * My Man * Theme from New York, New York * On the Atchison, Topeka, and the Santa Fe * Orange Colored Sky * Over the Rainbow * The Pink Panther * Reach for Tomorrow * Rock Around the Clock * The Shadow of Your Smile * Singin' in the Rain * Smoke Rings * Somewhere My Love * Stairway to the Stars * Star Dust * Star Eyes * Stars Fell on Alabama * Straighten Up and Fly Right * Swinging on a Star * Take Five * Take the A Train * Taking a Chance on Love * That's Amore * There Will Never Be Another You * This Masquerade * Those Were the Days * Tie a Yellow Ribbon 'Round the Ole Oak Tree * The Trolley Song * The Twelfth of Never * We Just Couldn't Say Goodbye * What a Wonderful World * Whatever Lola Wants * When the Saints Go Marching In * Who's Sorry Now? * Yesterday When I Was Young * You Don't Have to Say You Love Me * You Made Me Love You * You Steppe.
$3.99
3.68 €
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Piano, Vocal and Guitar
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Billy Strayhorn
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Take the "A" Train
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Alfred Music - Digital Sheet Music
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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)
$23.99
22.16 €
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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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SheetMusicPlus
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