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You've selected:
White Fields
Sheetmusic to print
18 sheet music found
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1
Fields Of Gold
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.779545 By Sting. By Sting. Arranged…
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Piano Solo - Level 2 - Digital Download SKU: A0.779545 By Sting. By Sting. Arranged by Kim Kirkman. Contemporary,Pop. Score. 3 pages. Kim Kirkman #5223035. Published by Kim Kirkman (A0.779545). Fields of Gold by StingUses the Eva Cassidy version introductionIn C major, just white notes of the pianoLovely rippling feel.
$4.99
4.59 €
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Piano solo
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Sting
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Fields Of Gold
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Kim Kirkman
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SheetMusicPlus
White Fields in Winter
Chorus - Digital Download SKU: AX.00-PO-0007134 Composed by Ruth Morris Gray. Secul…
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Chorus - Digital Download SKU: AX.00-PO-0007134 Composed by Ruth Morris Gray. Secular Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0007134. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0007134). UPC: 038081573557. James Stephens.
$2.05
1.89 €
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Ruth Morris Gray
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White Fields in Winter
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
White Fields in Winter
Chorus - Digital Download SKU: AX.00-PO-0007133 Composed by Ruth Morris Gray. Secul…
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Chorus - Digital Download SKU: AX.00-PO-0007133 Composed by Ruth Morris Gray. Secular Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0007133. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0007133). UPC: 038081573540. James Stephens.
$2.05
1.89 €
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Ruth Morris Gray
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White Fields in Winter
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
White Fields in Winter
Chorus - Digital Download SKU: AX.00-PO-0007135 Composed by Ruth Morris Gray. Secul…
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Chorus - Digital Download SKU: AX.00-PO-0007135 Composed by Ruth Morris Gray. Secular Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0007135. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0007135). UPC: 038081573564. James Stephens.
$2.05
1.89 €
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Ruth Morris Gray
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White Fields in Winter
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
White Fields
Choral 2-part
Two-part chorus - Digital Download SKU: C7.CGE188 Composed by George L.O. Strid and…
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Two-part chorus - Digital Download SKU: C7.CGE188 Composed by George L.O. Strid and Mary Donnelly. Winter, Holiday. Sing! With Glockenspiel and Alto Metallophone. Octavo. 12 pages. Chorister's Guild - Digital #CGE188. Published by Chorister's Guild - Digital (C7.CGE188). With lyrics based on a poem written by James Stephens in 1915, this delightful winter selection features canon form and straightforward voice leading, making it easily learned and accessible for young choirs. The Glockenspiel and Alto Metallophone add interesting textures and flavor to this charming piece, an excellent choice for your winter or seasonal concert. A Learning Resource Page is included.
$2.45
2.25 €
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Choral 2-part
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George L
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White Fields
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Chorister's Guild - Digital
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SheetMusicPlus
A Saxy Christmas!
Flute, Oboe, Clarinet, Bassoon
Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.1031040 Com…
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Woodwind Ensemble,Woodwind Quartet - Level 3 - Digital Download SKU: A0.1031040 Composed by Robert Fields. Arranged by Robert Fields. Christmas. 23 pages. Robert Fields #2852375. Published by Robert Fields (A0.1031040). Get your Santa Claus hats and cups of hot cocoa! Now you can play some of the most well known Christmas tunes with a modern approach. Your saxophone quintet will be able to ring in the holidays with this new chart!Featured in the chart, in order, are Jingle Bells, I'm Dreaming of a White Christmas, Joy to the World, and We Wish You a Merry Christmas.
$8.99
8.27 €
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Flute, Oboe, Clarinet, Bassoon
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Robert Fields
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A Saxy Christmas!
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Robert Fields
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SheetMusicPlus
The Blue Dome Of Light
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1257177 Composed by Nichol…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1257177 Composed by Nicholas White. 21st Century,Christmas,Contemporary,Holiday. Octavo. 12 pages. Nicholas White Music #850497. Published by Nicholas White Music (A0.1257177). A vigorous and engaging setting for chorus and organ of Amy Lowell's poem A Winter Ride.Who shall declare the joy of the running!      Who shall tell of the pleasures of flight!     Springing and spurning the tufts of wild heather,      Sweeping, wide-winged, through the blue dome of light.     Everything mortal has moments immortal,      Swift and God-gifted, immeasurably bright.     So with the stretch of the white road before me,      Shining snowcrystals rainbowed by the sun,     Fields that are white, stained with long, cool, blue shadows,      Strong with the strength of my horse as we run.     Joy in the touch of the wind and the sunlight!      Joy!  With the vigorous earth I am one.
$3.00
2.76 €
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Choral SATB
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Nicholas White
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The Blue Dome Of Light
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Nicholas White Music
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SheetMusicPlus
David W. Solomons - The Frostbound Wood for ATBB men's chorus a capella
Choral SATB
Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.776016 Composed by David …
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Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.776016 Composed by David Warin Solomons. A Cappella,Christian,Christmas,Contemporary,Instructional,Sacred. Octavo. 6 pages. Musik Fabrik Music Publishing #2036509. Published by Musik Fabrik Music Publishing (A0.776016). This setting for Christmas represents the cold of a Northern winter (the cruel wind blows) although of course the actual events took place in rather warmer climes. It also reflects much of the liturgical and popular symbolism of the Christmas season: robins, holly etc and it brings our thoughts towards the season of Easter with the blood of Good Friday. A robin brought some holly all covered with snow. The cruel wind blows. From each little berry fell drops of blood, Which covered the earth where the Virgin once stood. The cruel wind blows. Dark was the sky when Angels came to stay, They brought old lanterns to lead the way. The cruel wind blows. Candles brightly shine for all to see, They glow tonight through the ageing year. Tender are the lilies as soft as her gown And white are the ringlets that fall to the ground. Mary with her child upon this Winter night, She walked through the darkness with yellow candle light. North winds blow across the fields, But only one child continues to dream. The cruel wind blows The cruel wind blows. ©Tom Clarke Buying this file gives the right to print six copies of the music score.
$1.99
1.83 €
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Choral SATB
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David Warin Solomons
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David W. Solomons - The Frostbound Wood for ATBB men's chorus a capella
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Musik Fabrik Music Publishing
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SheetMusicPlus
Earth's Songs 4 oct. Handbell Ensemble
Handbells
Handbell - Level 2 - Digital Download SKU: A0.988266 Composed by Ina Young. Contemp…
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Handbell - Level 2 - Digital Download SKU: A0.988266 Composed by Ina Young. Contemporary. Score. 27 pages. Ina Young #6672637. Published by Ina Young (A0.988266). 6 Nature inspired compositions for 4 octave handbell ensemble.You may reproduce copies for your ensemble only.Permission to record and livestream granted.Titles: Glittering Water, Lush Mountainside, Wildflower Fields, White Clouds in the Sky, Dancing Raindrops, Leaves traveling in the Sky
$35.00
32.21 €
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Handbells
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Ina Young
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Earth's Songs 4 oct. Handbell Ensemble
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Ina Young
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SheetMusicPlus
Earth's Songs
Small Ensemble Handbell,Piano - Level 1 - Digital Download SKU: A0.988260 Composed …
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Small Ensemble Handbell,Piano - Level 1 - Digital Download SKU: A0.988260 Composed by Ina Young. Children,Instructional. Score and parts. 52 pages. Ina Young #6534445. Published by Ina Young (A0.988260). 6 nature inspired composition for 8 bells (G5-G6) and piano.Includes:Glittering WaterLush MountainsideWild Flower FieldsWhite Clouds in the SkyDancing RaindropsLeaves traveling in the WindThe purchase allows you to reproduce the piece for your ensemble only.All pieces separately availably as well.You may also livestream or record this piece.
$19.99
18.4 €
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Ina Young
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Earth's Songs
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Ina Young
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SheetMusicPlus
I Wander, I Wonder (SSAA choir)
Choral SSAA
Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.1153130 Composed by Emma T…
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Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.1153130 Composed by Emma Theresa. A Cappella,Classical. Octavo. 5 pages. Emma Theresa #753370. Published by Emma Theresa (A0.1153130). I wander through fields of gold With a song on my lips, A song silent and old. A song that the white dove sings with me. I wonder at a thought For a fleeting moment, But it cannot be caught, And flits away like the red lacewing.
$2.14
1.97 €
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Choral SSAA
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Emma Theresa
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I Wander, I Wonder
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Emma Theresa
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SheetMusicPlus
The Way You Look Tonight
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet - Level 3 - Digital Download SKU: A0.1269411 By 101 String Orchestra.…
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Brass Quintet - Level 3 - Digital Download SKU: A0.1269411 By 101 String Orchestra. By Dorothy Fields and Jerome Kern. Arranged by Nigel Simmons. Broadway,Film/TV,Jazz,Musical/Show,Standards. 17 pages. Hepplewhite Music #861932. Published by Hepplewhite Music (A0.1269411). Arranged for Brass Quintetby Nigel Simmonswww.HepplewhiteMusic.co.ukFull Score and Parts for Orchestral and Brass Band Quintetplus Eb Soprano Cornet (in lieu of 1st Bb Cornet) & Bb Bass (in lieu of Eb Bass).
$15.00
13.81 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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101 String Orchestra
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Bb Bass (in lieu of Eb Bass)
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The Way You Look Tonight
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Hepplewhite Music
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SheetMusicPlus
Everywhere, Christmas Tonight
Choral 2-part
Choral Choir (SA) - Level 1 - Digital Download SKU: A0.956391 Arranged by Glenda E.…
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Choral Choir (SA) - Level 1 - Digital Download SKU: A0.956391 Arranged by Glenda E. Franklin. Christmas. Octavo. 8 pages. Glenda E. Franklin Publications #6269015. Published by Glenda E. Franklin Publications (A0.956391). Christmas in lands of the fir tree and pine, Christmas in lands of the palm tree and vine; Christmas where snow peaks stand solemn and white, Christmas where cornfields lie sunny and bright. This simple 2-part arrangement radiates warmth and calmness as students share the sentiment of Christmas being everywhere around us.
$2.00
1.84 €
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Choral 2-part
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Everywhere, Christmas Tonight
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Glenda E. Franklin Publications
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SheetMusicPlus
Ruth Morris Gray: White Fields in Winter - choir (SSA: soprano, alto)
Choral 3-part
Instantly printable sheet music by Ruth Morris Gray for choir (SSA: soprano, alto) of MEDI…
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Instantly printable sheet music by Ruth Morris Gray for choir (SSA: soprano, alto) of MEDIUM skill level. / secular choral
$6.03
5.55 €
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Choral 3-part
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Ruth Morris Gray
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Virtualsheetmusic
Ruth Morris Gray: White Fields in Winter - choir (3-Part Mixed)
Choral 3-part
Instantly printable sheet music by Ruth Morris Gray for choir (3-Part Mixed) of MEDIUM ski…
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Instantly printable sheet music by Ruth Morris Gray for choir (3-Part Mixed) of MEDIUM skill level. / secular choral
$6.03
5.55 €
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Choral 3-part
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Ruth Morris Gray
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Virtualsheetmusic
Ruth Morris Gray: White Fields in Winter - choir (SATB: soprano, alto, tenor, bass)
Choral SATB
Instantly printable sheet music by Ruth Morris Gray for choir (SATB: soprano, alto, tenor,…
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Instantly printable sheet music by Ruth Morris Gray for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / secular choral
$6.03
5.55 €
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Choral SATB
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Ruth Morris Gray
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Virtualsheetmusic
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
22.08 €
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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
The William Bay Collection - Flatpicking Guitar Solo Anthology #1
Guitar
Guitar - Intermediate - Digital Download SKU: M0.WBM76MEB Country. Ebook and online…
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Guitar - Intermediate - Digital Download SKU: M0.WBM76MEB Country. Ebook and online audio. 193 pages. Mel Bay Publications - Digital Sheet Music #WBM76MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.WBM76MEB). ISBN 9781513476452. 8.75x11.75 inches.This comprehensive book contains the solos found in five William Bay guitar solo collections.á The solos range from colorful foot tapping reels, breakdowns, hornpipes, jigs, fiddle tunes and sea chanteys to country and Celtic ballads and waltzes.á Also included are numerous original guitar solos.á All 143 solos in this collection are recorded by the author and online access to the recordings is included. All solos are presented in notation and tablature.
Song List: 5th Avenue Swing Ain't Gonna Work Tomorrow American Hornpipe An Comhra Donn Angels Rock Me To Sleep Bacon In The Skillet Balkan Sunset Barney's Goat Bennett's Favorite Reel Bill Cheathum Billy in the Lowground Black And White Rag Blackberry Blossom Blanchard's Hornpipe Bluesin' the Frets Bottom of Punch Bowl Hornpipe Brian Boru's March Brighton Beach Bring Back to Me My Wandering Boy Brunswick Dance Brush Creek Bumpin' Buster's Reel Buttermilk Jig Caleb's Gorge Cape Cod Reel Carolan's Draught Carrie's Dream Catawissa Reel Catskill Night Cold, Frosty Morning Coldwater Creek Collin's Quest Copthorne Blues Crazy Creek Cumberland Gap Cumberland Ridge D Lite Days Of 'Lang Syne Devil's Dream Dixie Breakdown Don't Go Out Tonight, My Darling/East Virginia Down In The Willow Garden Dublin Dance East Tennessee Blues Echo Canyon Echo Waltz Eighth Of January Eleven Mile Canyon Em Study Fair And Tender Ladies Far From Home Gladiator Reel Green Fields Of America Guster Halloween Harvest Moon Strathspey Haste to the Wedding Haul Away, Joe Heebie Jeebie Hens In The Kitchen High Barbaree High five Hills of Roane County Hooker's Hornpipe I Never Will Marry I'll Be All Smiles Tonight Indian Creek Isle Of Cumbrae Ivy Leaf Reel Jacks Fork Rendezvous Jackson's Jig Katy Trail Kitchen Girl Lady's Fancy Lark in the Morning League Reel Little House 'Round the Corner London Hornpipe Lonesome River Lost Indian Luckie Bawdin's Reel Maddie's Bonnet Martha's Cider Mere Point Midnight Flight Mississippi Basin Missouri Mud Molambe Morrison's Jig National Lancer's Hornpipe Neapolitan Threshers Night Voyage North Sea Obadiah Johnson Peeler Creek Waltz Powder Mill Raqad Red Fox Waltz Red Haired Boy Reel De Lapin Rickett's Hornpipe Roll On Buddy Sally In The Garden Shannon's Well Ships Are Sailing Reel Short Life Of Trouble Shuckin' The Corn Sidney Street Silver Bell Silverheel's Shuffle Song Soppin' The Gravy Soulard St Anne's Reel St Clair's Hornpipe Star Of Bethlehem Step Around Johnny Stepping Out Stone's Rag Storms Are On The Ocean Suffolk Stroll Sugar In The Gourd Sundance Swallowtail Jig Sweet Lillie Sweet Sunny South Swing LTD Swing Steppin' The Burning Of The Piper's Hut The Clergy's Lamentation The Cuckoo The Downfall Of Paris The Girl I Loved in Sunny Tennessee The Promenade The Rights Of Man The Teetotaller's Reel The Unfortunate Rake The Wild Mare Whiskey Before Breakfast Wilson's Hornpipe Witch Of The Wave Reel Young McGoldrick
$24.99
23 €
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Guitar
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The William Bay Collection - Flatpicking Guitar Solo Anthology #1
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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