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You've selected:
Watch Me Step It
Sheetmusic to print
14 sheet music found
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1
Watch Me Step It
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1028467 Composed by Oliver Starley.…
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Piano Solo - Level 3 - Digital Download SKU: A0.1028467 Composed by Oliver Starley. Ragtime. Score. 6 pages. Oliver Starley #3559459. Published by Oliver Starley (A0.1028467). This piece harkens back to the days when the cake walk dance took America by storm in the late 1890s-1900s. This is a fun number for those who play piano.
$4.99
4.52 €
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Piano solo
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Oliver Starley
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Watch Me Step It
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Oliver Starley
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SheetMusicPlus
Love Me Now
Small Ensemble Flute,Guitar,Piano,Violin - Level 5 - Digital Download SKU: A0.837425
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Small Ensemble Flute,Guitar,Piano,Violin - Level 5 - Digital Download SKU: A0.837425 By John Legend. By Blake Mills, John Henry Ryan, and John Stephens. Arranged by Nathan Allen. R & B,Soul. Score and parts. 3 pages. Nathan Martin Allen #3097695. Published by Nathan Martin Allen (A0.837425). This is my version of the song Love Me Now. This sheet music is written for piano, guitar, flute, violin and other instruments in the key of C. This song was originally by John Legend. I had to sing this song through the sax to play it properly for you. Hope you enjoy it!Watch me performing this song! https://www.youtube.com/watch?v=iy37BYHN0nk
$4.99
4.52 €
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John Legend
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Love Me Now
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Nathan Martin Allen
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SheetMusicPlus
Love Me Now
Small Ensemble Soprano Saxophone,Tenor Saxophone,Trumpet - Level 5 - Digital Download S…
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Small Ensemble Soprano Saxophone,Tenor Saxophone,Trumpet - Level 5 - Digital Download SKU: A0.837427 By John Legend. By Blake Mills, John Henry Ryan, and John Stephens. Arranged by Nathan Allen. R & B,Soul. Score and parts. 3 pages. Nathan Martin Allen #3097697. Published by Nathan Martin Allen (A0.837427). This is my version of the song Love Me Now. This sheet music is written for tenor saxophone, soprano saxophone, trumpet and other instruments in the key of Bb. This song was originally by John Legend. I had to sing this song through the sax to play it properly for you. Hope you enjoy it!Watch me performing this song! https://www.youtube.com/watch?v=iy37BYHN0nk
$4.99
4.52 €
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John Legend
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Love Me Now
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Nathan Martin Allen
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SheetMusicPlus
All Of Me
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.816740 By John Legend. By John Step…
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Piano Solo - Level 3 - Digital Download SKU: A0.816740 By John Legend. By John Stephens and Toby Gad. Arranged by Bryan Kujawa. R & B,Soul. Score. 3 pages. Bryan Kujawa #3578507. Published by Bryan Kujawa (A0.816740). A new 2018 arrangement of John Legend's hit All of Me. YouTube video at https://www.youtube.com/watch?v=pNw5kSGN7Bo (sorry for average recording). This is an intermediate piano version. Please note right away it is not the entire song. It ends after the chorus. This is to give the intermediate player the enjoyment of performing this arrangement but only a segment, perfect for a recital. This arrangement was written in mind for the intermediate player. It is in the key of C major so that for most of the song the player can be played in C position (right hand), while the thumb moves a few steps down occasionally. Most of the left hand chords are in root position. Those not in root position were purposefully written that way so the player wouldn't have to jump around so much in the left hand. The highest note in the arrangement is third space C (treble clef right hand) and C below the staff (bass clef left hand). Arrangement DOES contain lyrics and is 53 measures long. Arrangement by professional musician/composer/arranger/educator https://www.bryankujawa.com/.
$4.99
4.52 €
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Piano solo
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John Legend
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All Of Me
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Bryan Kujawa
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SheetMusicPlus
Country Girl (shake It For Me)
Trombone
Trombone Solo - Level 4 - Digital Download SKU: A0.1110964 By Luke Bryan. By Dallas…
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Trombone Solo - Level 4 - Digital Download SKU: A0.1110964 By Luke Bryan. By Dallas Davidson and Luke Bryan. Arranged by Bobby D Hesch. Bollywood,Country,Jazz. Individual part. 4 pages. Bobby Hesch #713231. Published by Bobby Hesch (A0.1110964). COUNTRY GIRL SHAKE IT FOR ME!!! FOR SOLO JAZZ TROMBONE!!! WRITTEN BY LUKE BRYAN & DALLAS DAVIDSON !!! PERFORMED BY LUKE BRYAN!!! ADD THIS GREAT COUNTRY SONG TO YOUR SET AND WATCH THE AUDIENCE TWO STEP AROUND THE DANCE FLOOR KEY OF Ab !!! LOW E = HIGH Ab!!! CHALLENGING PASSAGES. IT HELPS TO KNOW THE LYRICS!!! :CONTACT INFORMATION:bobbyhesch@yahoo.com :IG:@bobbyhesch EMAIL QUESTIONS!!! MP3 FOR STYLE & INTERPRETATION!!!
$4.99
4.52 €
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Trombone
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Luke Bryan
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Country Girl
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Bobby Hesch
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SheetMusicPlus
All Of Me
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1454807 By John Legen…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1454807 By John Legend. By John Stephens and Toby Gad. Arranged by RIS. Contemporary,Pop,R & B,Singer/Songwriter,Soul. Score. 3 pages. RISsounds #1033876. Published by RISsounds (A0.1454807). 🎶 Download the Lead Sheet Music for All of Me by John Legend! 🎶We’re excited to share the lead sheet music for John Legend’s beautiful song All of Me. Perfect for both beginners and more advanced players, our sheet music makes learning this song easy and enjoyable.🎹 Why Our Lead Sheet Music is Perfect for You: Beginner-Friendly: The right hand is clearly written out on the staff for the melody, making it easy for beginners to follow along and learn. Advanced Flexibility: The left hand is open for improvisation, allowing more advanced players to add their own flair and creativity. Clear Notation: Our lead sheets are designed for easy reading and understanding, helping you to play confidently. Whether you're just starting out or looking to enhance your piano skills, our lead sheet music is the perfect tool to guide you. Combine it with our piano tutorial video and get ready to play All of Me with confidence and ease.📥 Get Your Copy Now! Download the lead sheet music and start playing today. Don't forget to watch our easy piano tutorial on YouTube for additional guidance and visual aid.👍 Don't Forget to Like and Subscribe! If you found this helpful, give it a thumbs up and subscribe to our channel for more easy piano tutorials and sheet music every week. Hit the bell icon to get notified of our latest uploads!Thank you for choosing Easy Piano Tutorials. Happy playing! 🥰#PianoSheetMusic #AllOfMeSheetMusic #JohnLegend #PianoTutorial #EasyPiano #BeginnerPiano #LearnPiano #PianoCover #PianoLessons #MusicSheet #PianoPractice #PianoForBeginners #PianoImprovisation #PianoMelody #PianoMusic #PianoPlayers #PianoLearning #SheetMusicDownload #MusicForBeginners #EasyPianoMusic #PianoLovers.
$4.99
4.52 €
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Piano, Vocal and Guitar
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John Legend
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All Of Me
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RISsounds
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SheetMusicPlus
Diamonds
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.896317 Composed by Doug Howe…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.896317 Composed by Doug Howell. Christian. Score. 6 pages. Creative Measures #4726471. Published by Creative Measures (A0.896317). I was dragging a bit as I walked across campus in the morning chill, wondering what the day might bring. Looking down. It had frosted during the night, and I was watching my step, I guess, when out of the corner of my eye I saw a brilliant sparkle that stopped me in my tracks. The sun, peeking above the horizon for approval, had sent out a special ray to attract my attention. When I looked closer, I saw an overturned leaf, covered with-diamonds! And oh, how I needed a promise right about then.Throughout that day and the days afterward, I was struck by just how extravagant God is with diamonds-and promises. Now that my eyes were opened, I seemed to see them everywhere: right in front of me, where I least expected them to be, in my memories, in my future. I’m still seeing them...For mp3, more notes and lyrics, sheet music, accompaniment track, and MIDI file see https://creativemeasures.com/music/songs/diamonds/
$1.99
1.8 €
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Piano, Voice
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Doug Howell
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Diamonds
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Creative Measures
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SheetMusicPlus
Monody
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1285185 Composed by Christian F. …
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Concert Band - Level 4 - Digital Download SKU: A0.1285185 Composed by Christian F. J. Buettner, John Tuananh Dang, and Rajan S. Arranged by Stephen Cai. 21st Century,Video Game. Score and Parts. 66 pages. Stephen Cai #876297. Published by Stephen Cai (A0.1285185). Monody - TheFatRat (Christian F. J. Buettner) arr. Stephen Cai for Concert BandProgram Notes:MUSIC As a sequel to Pigstep by Lena Raine and Exodus by Ernest Gold, I have decided to take on the challenge of arranging the ever-famous glitch hop song, Monody by Christian Buettner (known more prominently by his online alias, TheFatRat).Similarly to Pigstep, my first arrangement, I ran into the challenge of instrumentation, as Monody’s original soundtrack almost entirely consisted of electronic instruments. However, I used the same technique I did with Pigstep to overcome this problem: assign basslines to low brass, treble melodies to mid-range instruments, and high parts to upper woodwinds. Unlike Pigstep, Monody pushed me to be more creative with the percussion section, as I had to puzzle out recreating all of the numerous sound effects throughout the piece with traditional percussion instruments. I even decided to notate a conch shell line for the war horn present at the beginning and the coda! At the end, however, it all came together nicely, and I came to realize that both this song and the process of arranging it represent a journey, albeit in different contexts. The word “Monody†refers to, in a literal sense, a song sung to mourn one’s death, which accordingly fits with my view of the piece as a journey where the narrator loses their companion. Writing the introduction measures (M.22) carried me through the genuine feelings of embarking on a mythical undertaking as the original soundtrack intends to portray. The lively middle section (M.70) was enjoyable to write as well, because the music itself is upbeat and full of energy. Finally, arranging the solo section was probably my most memorable experience. The slow and subtly melancholic character of the melody (the oboe solo) very closely alludes to the narrator’s mourning, and the enchanting lyrics originally written for this section further confirms their loss:    I still hear you in the breeze,    See your shadows in the trees;    Holding on, memories never change. The chords and harmonies that the original soundtrack provided were relatively simple to transcribe, and I found joy complementing them with luscious percussion effects. This is my interpretation of Monody, and I believe that it would be best performed as a journey, one which we can relate to as it encompasses the theme of loss; a monody. ARTWORK I also took up the challenge of creating original cover artwork for Monody, and I have to say, my level of appreciation for artists of any kind has skyrocketed ever since that endeavor. It took nearly two months of watching YouTube tutorials, onerous idea crunching, and using my sister’s drawing tablet, but I had nevertheless completed it with advice from some of my more experience peers (including my sister). Formal Credits: Cai, Stephen and Rachel Cai. “Monody†Arrangement for Concert Band cover. 2023 Lastly, I want to say thanks to my friend Matteo Sohn for being such a huge musical inspiration, and thank you for acknowledging my arrangement!
$59.99
54.29 €
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Concert band
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Christian F
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Monody
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Stephen Cai
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SheetMusicPlus
The Royal Hussar (Ceremonial Slow March) for Concert/Wind Band ''Keith Terrett Classic March Collect
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.746511 Composed by Keith Terrett.…
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Concert Band - Level 3 - Digital Download SKU: A0.746511 Composed by Keith Terrett. 20th Century,Patriotic,World. 32 pages. Keith Terrett #1989071. Published by Keith Terrett (A0.746511). A slow march I entitled The Royal Hussar, is an original ceremonial slow march of mine, suitable for indoor or outdoor performance. Slow March: This is a ceremonial pace, used for funeral marches and when a unit’s colours are marched out in front of the troops. The feet are kept parallel to the ground and the arms are never used. In the United States Marine Corps, arms swing as the distance they normally would in quicktime, but at the same pace as marching. U.S. Marine Color Guards do not swing their arms. Slow March is typically used in the Marine Corps for funeral details and ceremonies such as the Marine Corps Ball (when the cake is escorted out). In Spain, Latin America, and the Philippines this is done during religious processions whenever a military band joins it. This march style is the official parade march in the armed forces of Bolivia and Ecuador and the military academies and schools of Venezuela, done with the goose step during parades and ceremonies. The standard pace is 60 paces per minute. Famous slow marches include:Preobrajensky Regimental Slow March Presented to the Royal Marines by Admiral of the Fleet The Earl Mountbatten of Burma on 10th June 1964 and first performed as the Regimental Slow March of the Royal Marines on Horse Guards Parade that night. The march was composed by the Russian composer Donajowsky for the Russian Tzar’s Preobrajensky Guard. The Royal Hussars Slow March ’Coburg’, a tune composed by Haydn and arranged by Grant-James in the late 19th Century, is without doubt one of the most well-known and famous Slow Marches to be written. ’The Eagle’, which itself is a combination of the 14th and 20th Hussars slow marches is also a very strong march, but not widely known outside 14th/20th King’s Hussars’ circles. The Garb of Old Gaul (sometimes given as Auld Gaul) is an 18th-century patriotic Scottish march and song about Highland soldiers during the Seven Years War. The music was written by General John Reid, who was a senior officer of the 42nd Regiment of Foot (The Black Watch) during the Seven Years War. The words have traditionally been attributed to Sir Harry Erskine (1710 -1765). Robert Burns described it as This excellent loyal Scottish song and states that it first appeared in print in Herd’s Collection of 1769. Alternative titles include The Highland Character and The Highland or 42nd Regiment’s March. The tune was originally a quick march but was later rearranged as a slow march. Other famous slow marches of the British Army include Golden Spurs & Scipio. Put away Scipio, Coburg & Garb of Old gaul, time for a newcomer on the block! For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.
$29.99
27.14 €
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Concert band
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Keith Terrett
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Scipio
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The Royal Hussar
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Keith Terrett
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SheetMusicPlus
Divertimento For Flute Choir
Flute ensemble
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 5 - Digital Download
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 5 - Digital Download SKU: A0.1314344 By Tooti Flooti. By Geraldine (Denny) Green. 21st Century,Chamber,Contemporary. 117 pages. Geraldine (Denny) Green at Oakmountmusic #903088. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1314344). ALL PURCHASES COME WITH SCORE AND PARTSThe Divertimento for Flute Choir was requested by flautist David Greenalgh for the Flute choir Tooti Flooti and was written in June and July 2016. It has 3 short movements and a total duration of about 15 minutes.The outer movements are speedy, light hearted and sunny natured, while the middle movement is slower and rather haunting. The 3rd movement is the only one with a title, “The June Prune Tuneâ€, and there is a funny story behind the name. Many summers ago, my husband, Bob, and I were playing guitar and penny whistle together at home and I just happened to be snacking on dried prunes at the time. Bob joked that I should write a tune called the Prune Tune. I went a step further and said, June prune Tune, but it had to be written in June and I had to be eating prunes while actually writing it. Well, for the two Junes of 2014 and 2015 I tried to do it but no tune came. Nothing. Silence! Then, on the 1st June 2016 I was dashing home from work and I dived into a small corner shop for a sandwich and happened to spot a pack of dried prunes along with other dried fruits. So, in the local park, I stopped to have my butty and prunes while watching the birds and as I was eating the prunes a tune suddenly was there in my mind and I was subconsciously humming it. Like a thunderbolt it hit me! This was it! The June Prune Tune had arrived. Luckily I nearly always have paper on me so at once I scribbled it down, while munching very deliberately on the only two prunes left in the pack! Music doesn’t always have to be filled with sorrow and sadness and turmoil, even though much of mine is. But sometimes it’s just great to let the humour and flippancy flow,too, and simply enjoy having a good joke and a laugh. The Instrumentation is:Flute 1 – doubling Piccolo, Flute 2 – doubling piccolo, Flute 3 – doubling piccolo, Flute 4, Alto flute, Bass flute and string Double Bass.As the work was written for a specific group of players, the parts are single and do not divide within themselves. This, however, should not prevent it also working well with more than one player per part.The double bass part sometimes doubles the bass flute line, but also is an independent part in its own right.
$50.00
45.25 €
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Flute ensemble
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Tooti Flooti
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Divertimento For Flute Choir
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Geraldine
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SheetMusicPlus
León protegiendo a su cría [piano solo]
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.596632 Composed by Juan MarÃa So…
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Piano Solo - Level 2 - Digital Download SKU: A0.596632 Composed by Juan MarÃa Solare. 20th Century,Contemporary,Instructional. Score. 7 pages. Juan Maria Solare #6625865. Published by Juan Maria Solare (A0.596632). Juan MarÃa Solare León protegiendo a su crÃa (Lion protecting its cub) This short minimalist prelude for piano was composed in Bremen on 9 and 10 November 2021. It is minimalist in the aesthetic sense of the word: few elements, many repetitions, minimal variations. But not in the historical sense: traditional minimalism abounds in consonance, in quiet sonorities; this prelude is rather arid, not particularly consonant, and only a step away from irritation or fury. The work emerged as an elaboration of an improvisation for the Digitaler Adventskalender 2021 project of the Landesmusikrat Bremen. And the title is inspired by the doll of a lion with its cub that was given to me many years ago. This complements an allusion to the unique minimalism of Charlemagne Palestine, who tends to play his concerts surrounded by stuffed animals. Of course, the doll's innocent appearance is deceptive. See here for a video of the piece León protegiendo a su crÃa: https://www.youtube.com/watch?v=qXcmuibDpbo Juan MarÃa Solare Bremen, 22 November 2021
$2.00
1.81 €
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Piano solo
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Juan MarÃa Solare
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León protegiendo a su cría [piano solo]
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Juan Maria Solare
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SheetMusicPlus
Come un fiore (Faust, le polveri e gli intrugli)
Piano solo
Piano Solo - Digital Download SKU: A0.976877 Composed by Monica Bergo. Contemporary…
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Piano Solo - Digital Download SKU: A0.976877 Composed by Monica Bergo. Contemporary. Score. 7 pages. Monica Bergo #3244377. Published by Monica Bergo (A0.976877). 2017 Holiday Contest Entry* • .¸¸. ♫ Like a flower (Faust, powders and potions) ♫ • *'¯` * .¸¸. ♫ I seek peace, I want to light… Is one of those days that the silence takes away that last smile and dies in throat happiness The old desires resurface here and there and move the dish intact the food don't takes me away hunger I would to be a flower needs has never the sun heats the wind then lull it the rain mixes with my tears that goes my steps echo in the nothing of city and while I walked in to the melancholy with only my sad thoughts to keep me company with the mind's eye I had seen him already beautiful in appearance, but in the heart the ice he has It 's so much waiting for you but I have eternity it's true ,to have you tried and you're back here, you good acrobat, actress without identity it is useless to run away, it is written in the DNA. Do not you remember? but that good days powders and concoctions that filled your eternal empty watched yourself now always the same love, affection is a life that you are looking for Surrender and you'll see .... here with me, no one in the world, will can hurt you or harm you will do damnation, pure invention and heaven will remain empty But do not you realize? you're out of time and out of place in this society if you disappear at this instant of your essence, what will be left? Do-sol do-sol energy becomes infinite Re- la Re- la and from the heart goes to the fingers MI- si mi- si search keys, caresses them and finally there is sweetness also for me Do-sol do-sol so tired of being alone re-la re-la fly music and consoles mi-si mi-si remove also this love too and as a flower without treatment, I wither Stay with me I want to light Stay with me I look for peace like a flower that does not give answers here with you there is no peace here with you without light like a flower without the sun I will die Sweetes.
$3.99
3.61 €
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Piano solo
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Monica Bergo
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Come un fiore
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Monica Bergo
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SheetMusicPlus
When You Say Nothing At All
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.749733 By Keith Whitley. By …
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.749733 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Stephen M. Taylor. Country. Score and parts. 18 pages. SMT Music #3536859. Published by SMT Music (A0.749733). When You Say Nothing at All is a country song written by Paul Overstreet and Don Schlitz. Keith Whitley first recorded it in 1988 and it hit NO. 1 on the Hot Country Singles Chart. In 1995 Allison Krausse and Union Station released it. It became her first solo top-10 country hit. Song definitely has legs ... I like the Keith Whitley version best. It's a nice Unity Candle song for weddings. My cousin requested it and so I did this arrangement for her singer which put it in lower key.. C major. If you want it for your wedding you can look for me at Sheet Music Plus or SMT Music in Louisville, KY. I can put up another version in your key on this website. This arr. is 2 1/2 min. in length. You can see our performance of it at https://www.youtube.com/watch?v=9XvgJr4JVpQ
$20.00
18.1 €
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Chamber Orchestra
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Keith Whitley
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When You Say Nothing At All
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SMT 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
21.71 €
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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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