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Non classifié 3 775

Piano & claviers
Piano seul 3 227
Piano Facile 1 090
Piano, Voix 744
Piano, Voix et Guitare 586
Instruments en Do 167

Orgue 126
1 Piano, 4 mains 85
Accompagnement Piano 72
Piano Trio: piano, violon, violoncelle 54
Piano grosses notes 54
Accordéon 49
2 Pianos, 4 mains 48
Piano Quatuor: piano, violon, alto, violoncelle 14
Orgue, Trompette (duo) 8
Ligne De Mélodie, Piano 7
Piano Quatuor: piano, 2 violons, violoncelle 6
Accordéon, Voix 5
Piano (partie séparée) 5
Clavecin 3
Piano Quintette: piano, 2 violons, alto, violoncelle 3
Orgue, Piano (duo) 2
1 Piano, 6 mains 1
2 Pianos, 8 mains 1

+ 18 instrumentations

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Guitares
Guitare notes et tablatures 249
Guitare 172
Ligne De Mélodie, (Paroles) et Accords 160
Ukulele 42
Piano, Guitare (duo) 16

Mandoline 15
Paroles et Accords 14
Basse electrique 11
Guitare (partie séparée) 10
Dulcimer 5
Banjo 5
4 Guitares (Quatuor) 4
Mandoline, Guitare (duo) 3
Basse électrique (partie séparée) 3
2 Guitares (duo) 2
Ukulele Baryton 1
Partitions De Groupes 1
Guitare Pedal Steel 1

+ 13 instrumentations

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Voix
Chorale SATB 878
Chorale 3 parties 273
Chorale TTBB 103
Chorale 2 parties 100
Chorale Unison 67

Chorale SSAA 64
Voix Alto, Piano 31
Voix Tenor 25
Voix Soprano 23
Voix duo, Piano 22
Chorale 16
Voix Tenor, Piano 14
Voix seule 13
Voix moyenne, Piano 11
Voix Soprano, Piano 11
Voix basse, Piano 9
Voix haute 9
Chorale SSAATTBB 5
Voix duo 3
Chorale SSATB 3
Voix Mezzo-Soprano, Piano 2
Chorale SSATTB 2
Male Voice 2
Chorale SSATBB 1
Chorale SSAB, Piano 1

+ 20 instrumentations

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Vents
2 Saxophones (duo) 574
Quatuor de Saxophones: 4 saxophones 475
Flûte, Hautbois, Clarinette, Basson 415
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 374
Quintette de Saxophone: 5 saxophones 330

Quatuor de Clarinettes: 4 clarinettes 317
Saxophone, Clarinette (duo) 271
2 Clarinettes (duo) 259
2 Flûtes traversières (duo) 249
Flûte traversière et Piano 229
Clarinette, Violon (duo) 189
Saxophone (partie séparée) 186
Hautbois, Piano (duo) 174
Clarinette 173
Clarinette, Trompette (duo) 171
Clarinette et Piano 168
Flûte traversière 163
Saxophone Alto et Piano 150
Saxophone Alto 149
2 Hautbois (duo) 128
Saxophone Tenor et Piano 123
Flûte, Clarinette (duo) 112
Quintette de Clarinettes: 5 clarinettes 102
Clarinette et Alto 98
Hautbois, Basson (duo) 97
Flûte, Saxophone (duo) 96
Hautbois, Clarinette (duo) 96
Flûte, Violon 95
Hautbois, Flûte 84
Flûte, Alto (duo) 80
Hautbois (partie séparée) 78
Flûte, Trompette (duo) 75
Saxophone Soprano et Piano 71
Quatuor de Flûtes : 4 flûtes 71
Ensemble de Clarinettes 62
3 Saxophones (trio) 62
Saxophone Baryton, Piano 59
Ensemble de saxophones 57
Quintette de Flûte : 5 flûtes 53
Hautbois 39
3 Clarinettes (trio) 35
Saxophone Tenor 33
Clarinette (partie séparée) 30
Flûte à bec Soprano 29
Cor anglais, Piano 26
Ensemble de Flûtes 25
Clarinette Basse, Piano 24
Trio de Flûtes: 3 flûtes 22
2 Flûte à bec (duo) 22
Cor Anglais 22
Flûte, Hautbois, Clarinette (trio) 17
Flûte et Guitare 15
Saxophone Soprano 14
Clarinette, Basson (duo) 13
Flûte à Bec 13
Flute (partie séparée) 13
Saxophone Baryton 13
Hautbois, Violoncelle 11
Flûte, Clarinette et Basson 11
Hautbois, Clarinette, Basson (trio d'anches) 10
Flûte, Violoncelle 10
Clarinette, Violoncelle (duo) 10
Flûte, Hautbois (duo) 9
Flûte à bec Alto 8
Flûte, Violon, Piano 8
Flûte traversière, Orgue (duo) 7
Hautbois, violon (duo) 6
Flûte, Clarinette, Cor, Basson (Quartet) 6
Quatuor de Flûtes à bec 6
Flûte, Hautbois, Basson 5
Ensemble De Flûte à bec 5
Saxophone 5
5 Flûtes à bec 5
Saxophone et Orgue 4
Hautbois et alto (duo) 4
Instruments en Mib 3
Hautbois, Harpe 3
Saxophone et Harpe 3
Flûte à bec Soprano, Piano 3
Clarinette, Trombone (duo) 3
2 Flûtes traversières, Piano 3
3 Flûtes à bec (trio) 3
Harmonica 2
Flûte à bec Tenor 2
Clarinette, Guitare (duo) 2
2 Hautbois, Piano 2
3 Hautbois 2
Flûte, Clarinette, Piano (trio) 2
Clarinette, Harpe (duo) 2
Flûte, Hautbois, Piano (trio) 2
2 Clarinettes, Piano 2
4 Hautbois 2
Flûte à bec Alto, Piano 2
2 Saxophones, Piano 2
Clarinette, Violoncelle, Piano (trio) 1
Flûte, Violon, Violoncelle et Piano 1
Piccolo 1
Flûte, Violon et Violoncelle 1
Ensemble de Hautbois 1
Flûte, Tuba (duo) 1
Flûte irlandaise 1
Flûte et Trio à cordes 1
Flûte, Trombone (duo) 1
Clarinette, Tuba 1
Clarinette, Contrebasse (duo) 1
Hautbois, trombone (duo) 1
Flute, harpe et violon 1
Flûte, Violoncelle, Piano (trio) 1
Clarinette Basse 1

+ 104 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 301
Quatuor de Cuivres : 2 trompettes, trombone, tuba 211
Trompette, Saxophone (duo) 195
Trompette, Piano 137
Trompette 136

2 Trombones (duo) 134
Trombone et Piano 125
Cor et Piano 125
2 Trompettes (duo) 121
Cor 105
Trombone 105
Trompette, Trombone (duo) 104
Tuba 73
Tuba et Piano 73
Euphonium, Piano (duo) 62
Quatuor de Cuivres 62
Trompette (partie séparée) 59
Trombone (partie séparée) 42
Ensemble de Trombones 40
Quatuor de Cuivres: 2 trompettes, Cor, trombone 40
Quatuor de cuivres: 4 trombones 33
2 Cors (duo) 29
Cor anglais, Piano 26
Cor Anglais 22
Cor (partie séparée) 16
Ensemble de Trompettes 15
Euphonium 13
2 Tubas (duo) 13
Quatuor de cuivres: 4 cors 11
Tuba (partie séparée) 11
Trio de Cuivres 9
2 Euphoniums et 2 Tubas 8
Ensemble de Cors 7
4 Tubas 6
Cor, Violoncelle (duo) 5
3 Trompettes (trio) 5
Quatuor de cuivres: 4 trompettes 5
Trombone basse et Piano 4
Tuba ou Euphonium ou Saxhorn 3
Trompette, Basson (duo) 3
2 Cors, Piano 3
2 Trompettes, Clavier (piano ou orgue) 3
Trombone basse 3
Instruments en Sib 3
Bass Clef Instruments 3
Trompette, Harpe 2
Trompette, Violoncelle (duo) 2
Cor et Basson (duo) 2
2 Euphoniums (duo) 2
3 Euphoniums 2
Euphonium, Tuba (duo) 2
Trompette, Cor (duo) 2
Tuba et Orgue 2
Trompette, Tuba (duo) 1
Trompette, Orchestre 1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones 1
Quatuor de cuivres: 2 trompettes, 2 trombones 1
Trombone, Violon (duo) 1
3 Cors (trio) 1
Cor et Harpe 1
3 Trombones (trio) 1
Trompette, violon (duo) 1
Ensemble de Tubas 1
Instruments en Fa 1

+ 59 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 1 063
Harpe 824
Violon, Violoncelle (duo) 332
Violon 287
Violon et Piano 272

Trio à Cordes: violon, alto, violoncelle 222
Violoncelle, Piano 217
2 Violons (duo) 155
2 Violoncelles (duo) 152
Alto, Piano 152
2 Altos (duo) 131
Violon, Alto (duo) 126
Violoncelle (partie séparée) 116
Quintette à cordes: 2 violons, alto, violoncelle, basse 107
Alto seul 105
Contrebasse, Piano (duo) 63
Contre Basse 55
Violoncelle 53
Trio à Cordes: 2 violons, violoncelle 46
Violon (partie séparée) 28
Alto (partie séparée) 28
Alto, Violoncelle (duo) 20
2 Harpes (duo) 14
Contrebasse (partie séparée) 14
Trio à cordes: 3 violins 13
4 Violoncelles 11
Violon, Basson (duo) 9
Trio à Cordes: 3 violoncelles 9
Quintette à cordes: 2 violons, 2 altos, violoncelle 8
Trio à Cordes: 2 violons, alto 7
Alto et Basson 6
Violon, Orgue 6
Quatuor à cordes: 4 violons 6
Quatuor à cordes : 4 altos 5
Harpe, Flûte (duo) 4
Ensemble de Violons 4
Violoncelle, Contrebasse (duo) 4
2 Contrebasses (duo) 4
Violoncelle, Basse continue 3
Harpe, Voix 3
Harpe, Violon (duo) 3
2 Violons, Piano 3
Harpe, Violoncelle (duo) 3
Violon, Guitare (duo) 2
Trio à cordes: 3 altos 2
2 Violoncelles, Piano 2
Ensemble d'Altos 2
3 Harpes 2
4 Contrebasses 2
5 Harpes 2
Alto et Harpe 2
Violoncelle, Orchestre 2
Violoncelle , Guitare (duo) 1
Flûte, Contrebasse (duo) 1
4 Harpes 1
Harpe, Trombone (duo) 1
Violoncelle, Orgue 1
Ensemble de Violoncelles 1
Violon, Tuba (duo) 1
Quintette à cordes : 2 violons, alto et 2 violoncelles 1
Piano Trio: Violon, Alto, Piano 1

+ 56 instrumentations

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Percussions & orchestre
Orchestre d'harmonie 827
Orchestre à Cordes 393
Orchestre 198
Cloches 155
Ensemble Jazz 148

Ensemble de cuivres 107
Orchestre de chambre 45
Fanfare 40
Ensemble de Percussions 33
Jazz combo 32
Percussion (partie séparée) 22
Batterie 21
Marimba 20
Percussion 11
Batterie (partie séparée) 8
Vibraphone 6
Ensemble d'École 6
Xylophone 5
Xylophone, Piano 4
Piano et Orchestre 2

Quatuor à Vent : 4 instruments à vents 1
Timbales 1
Quintette à Vent 1
Conga 1
2 Marimbas 1

+ 20 instrumentations

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Piano et Orchestre

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Listen To The Mocking Bird

Listen To The Mocking Bird #Piano et Orchestre #FACILE #Stephen DeCesare #Listen To The Mocking Bird #Exultet Music #SheetMusicPlus

By Stephen DeCesare. For Piano, Voice, Flute, Choral. Children's Music, Movies/TV, Romantic Period, Folk Music, World. Early Intermediate. Sheet Music Sing...(+)

By Stephen DeCesare. For Piano, Voice, Flute, Choral. Children's Music, Movies/TV, Romantic Period, Folk Music, World. Early Intermediate. Sheet Music Single. Published by Exultet Music

$3.99 ≈ 3.67€

Concerto

Concerto #Piano et Orchestre #AVANCÉ #Contemporain #Gyorgy Ligeti #Concerto #Schott Music - Digital #SheetMusicPlus

Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...(+)

Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .

The markings of the movements are the following: .

1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.

The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .

The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .

In the Piano Concerto I realized new concepts of harmony and rhythm. .

The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .

In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .

The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .

In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .

Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .

The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .

Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .

These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .

The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .

The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .

Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .

Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .

This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .

The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .

I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)

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