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• System Of A Down
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Vous avez sélectionné:
System Of A Down
expert
Partitions à imprimer
66 partitions trouvées
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51
System Of A Down : Toxicity - Version originale (niveau avancé)
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Batterie
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AVANCÉ
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Rock
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System Of A Down
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Toxicity
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Tomplay
Telechargez la partition Batterie Toxicity - Version originale (niveau avance) de System of a Down. Partition avec audio Play Along. Pop/rock...
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Telechargez la partition Batterie Toxicity - Version originale (niveau avance) de System of a Down. Partition avec audio Play Along. Pop/rock
5.99€
150 Gems of Irish Music for Flute
150 Gems of Irish Music for Flute
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Flûte traversière
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AVANCÉ
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Celtique/Irlandais
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Grey E
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150 Gems of Irish Music for Fl
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Flute, fife and oboe - Advanced - Composed by Grey E. Larsen. Tunebook. Style. E-book and online audio. 132 pages. Mel Bay Publications - Digital Sh...
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Flute, fife and oboe - Advanced - Composed by Grey E. Larsen. Tunebook. Style. E-book and online audio. 132 pages. Mel Bay Publications - Digital Sheet Music #98216BCDEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619114159.
Grey Larsen, in the 150 Gems collections, has given us a most welcome follow-up to his encyclopedic volume, The Essential Guide to Irish Flute and Tin Whistle (Mel Bay Publications, 2003) and The Essential Tin Whistle Toolbox (Mel Bay Publications, 2004). The Gems feature not only meticulously-selected tunes, but represent the first major offerings that use Larsen's innovative system of notating Irish ornamentation. These books and online audio will help players gain a deeper understanding of the Irish musical tradition as well as provide new material to enhance the experience of the solo player and Irish session participant alike. Includes access to online audio.
$19.99 ≈
17.91€
The Sacred Magic of Abramelin the Mage
The Sacred Magic of Abramelin the Mage
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Brandon Nelson
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The Sacred Magic of Abramelin
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Brandon Nelson
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Vibraphone - Level 5 - SKU: A0.912928 Composed by Brandon Nelson. Concert,Contemporary. Score and parts. 11...
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Instrumental Duet Clarinet,Instrumental Duet,Vibraphone - Level 5 - SKU: A0.912928 Composed by Brandon Nelson. Concert,Contemporary. Score and parts. 11 pages. Brandon Nelson #2082127. Published by Brandon Nelson (A0.912928). This work is based on the book by the same title. In it, one Abraham of Wurzburg, an aspiring medieval mage and devout Jew, describes a tour that he made of points in Europe and the Middle East, searching for a mentor who would not turn out to be a charlatan (or worse). Abraham eventually finds such a figure in a small town on the banks of the Nile. Here he meets the great magician Abramelin, whose system of magic Abraham sets out in detail. What results is the present volume, which puts forth a complete course in ceremonial magic (both white and black). In Abramelin’s system, after a lengthy period of self-purification and prayer, one may call upon one’s Holy Guardian Angel, who will then instruct one further on how to conjure up the princes and demons of Hell to do your bidding. The crux of this involves using certain special squares of anagrammatic words that would compel the conjured demon to perform specified tasks. In this piece, I take five of these squares and depict them in colorful, virtuosic tone paintings. (Learn more about me at bnelsonmusic.wordpress.com).
$9.99 ≈
8.95€
A Well-Traveled Road
A Well-Traveled Road
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Orchestre
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AVANCÉ
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Contemporain
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Daniel Burwasser
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A Well-Traveled Road
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Head and Stem
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1090419 By Daniel Burwasser. By Daniel Burwasser. 20th Century,Contemporary. Score and Parts. 278 pages. Head and Ste...
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Full Orchestra - Level 5 - SKU: A0.1090419 By Daniel Burwasser. By Daniel Burwasser. 20th Century,Contemporary. Score and Parts. 278 pages. Head and Stem #694597. Published by Head and Stem (A0.1090419). A Well-Traveled Road was first sketched in the summer of 1989. It was revised and orchestrated in 1992 for a recording on MMC (now defunct) by the Slovak Radio and Television Orchestra under the direction of Robert Stankovsky. This video represents a revised version from the original 1992 score and 1995 recording. NOTES from 1995: I have always been intrigued with the transformational potentiality of themes. A Well-Traveled Road explores the diverse possibilities of the development of a single motive. I have incorporated certain principles of sonata form, although this music is more episodic in nature than three-part. It is foremost mono-thematic (the theme is first announced in the horns and trumpets). The idea then undergoes several permutations in the form of episodes, including a fleeting waltz, a form of which I am quite fond. The title of the piece itself is a metaphorical allusion to this process. The harmonic language in the work is predominantly tonal. By contemporary music standards, about one-half consonant and one-half dissonant. I do not prescribe to any type of harmonic system or any other such rationale in this work (or seldom in any of my recent work). I prefer using a more intuitive approach to harmony, reserving dissonance for spice and for enhancing the dramatic element of the music. Daniel BurwasserFor more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$70.00 ≈
62.71€
Chop Suey!
Chop Suey!
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System of a Down
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Matthew Nunes
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Chop Suey!
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Matthew Nunes Music
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SheetMusicPlus
Euphonium,Tuba - Level 5 - SKU: A0.491837 By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Matthew Nunes. Chamber,Film/TV,Rock,Video...
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Euphonium,Tuba - Level 5 - SKU: A0.491837 By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Matthew Nunes. Chamber,Film/TV,Rock,Video Game. 20 pages. Matthew Nunes Music #107353. Published by Matthew Nunes Music (A0.491837). A Tuba-Euphonium Quartet arrangement of Chop Suey! by System of a Down. Not for the faint of heart - this is on of my more difficult arrangements.
$19.99 ≈
17.91€
Question!
Question!
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Piano seul
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AVANCÉ
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Rock
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System of a Down
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Dalal Rodriguez
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Question!
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Dalal RodrÃguez
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1364132 By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Dalal Rodriguez. Rock. Score. 5 pages. Dalal...
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Piano Solo - Level 5 - SKU: A0.1364132 By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Dalal Rodriguez. Rock. Score. 5 pages. Dalal RodrÃguez #948443. Published by Dalal RodrÃguez (A0.1364132). Piano arrangement of the song Question! from the album Mezmerize by System of a Down. Written by Serj Tankian and Daron Malakian. Arranged for piano solo by Dalal Rodriguez.Level: Advanced.
$4.99 ≈
4.47€
Frolic of Forest Quartet for Woodwinds
Frolic of Forest Quartet for Woodwinds
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Darian Thompkins
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Frolic of Forest Quartet for W
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Darian Thompkins
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 5 - SKU: A0.1406769 Composed by Darian Thompkins. 20th Century,Chamber,Contest,Ea...
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 5 - SKU: A0.1406769 Composed by Darian Thompkins. 20th Century,Chamber,Contest,Easter,Festival,New Age. 15 pages. Darian Thompkins #989523. Published by Darian Thompkins (A0.1406769). Frolic of Forest Quartet for Woodwinds is a piece for musicians who wish to be challenged. The piece is written in compound time with a transition to common time and showcases a change from D major to F major. A tour of the woods you will go with delights of colorful trees and various bouquets of flowers. Chords pulled and clustered to create a bliss and peaceful sound for the listener. Feelings of flying or running through an emerald forest. A trip deep into the woods to see its wonders. The flute has a beautiful solo that represents the beauty and freedom of the wind as it moves through the trees. The bassoon represents the forest trees and creatures as they move, animals that gallop across the floor of the forest. Like fairies they are enchanted and whimsical as they thrive. An ecosystem of life vibrant as far as the eye can see. Frolic of Forest Quartet for Woodwinds is for Advanced Woodwind players for flute, oboe, clarinet, and bassoon. Prepare yourself for a beautiful journey your ears will never forget, and you will always remember.
$3.99 ≈
3.57€
Bitonal - Game of catch
Bitonal - Game of catch
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Piano seul
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AVANCÉ
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David Tsvariani
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Bitonal - Game of catch
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David Tsvariani
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1337383 Composed by David Tsvariani. 21st Century,Classical,Contemporary. Score. 4 pages. David Tsvariani #923200. Publis...
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Piano Solo - Level 5 - SKU: A0.1337383 Composed by David Tsvariani. 21st Century,Classical,Contemporary. Score. 4 pages. David Tsvariani #923200. Published by David Tsvariani (A0.1337383). David Tsvariani's musical compositions encompass a series of compact polytonal piano works. Within each piece, the right and left hand segments delve into separate tonalities, with the interval between their fundamental tones ranging from 0.5 to 3 tones, completing a circular progression.Throughout this collection, the fundamental tones undergo systematic changes. For instance, in compositions distinguished by a 0.5-tone interval, four tonal possibilities emerge: minor-major, major-minor, minor-minor, and major-major. The cycle then continues with the introduction of a new fundamental tone, repeating the pattern with four fresh tonal options. This iterative exploration unfolds across the entirety of David Tsvariani's composition series, offering a nuanced exploration of tonal diversity within the polytonal context.
$2.99 ≈
2.68€
Bitonal - Two pages from a history textbook
Bitonal - Two pages from a history textbook
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Piano seul
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AVANCÉ
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David Tsvariani
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Bitonal - Two pages from a his
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David Tsvariani
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1340411 Composed by David Tsvariani. 21st Century,Classical,Contemporary. Score. 2 pages. David Tsvariani #926038. Publis...
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Piano Solo - Level 5 - SKU: A0.1340411 Composed by David Tsvariani. 21st Century,Classical,Contemporary. Score. 2 pages. David Tsvariani #926038. Published by David Tsvariani (A0.1340411). David Tsvariani's musical compositions encompass a series of compact polytonal piano works. Within each piece, the right and left hand segments delve into separate tonalities, with the interval between their fundamental tones ranging from 0.5 to 3 tones, completing a circular progression.Throughout this collection, the fundamental tones undergo systematic changes. For instance, in compositions distinguished by a 0.5-tone interval, four tonal possibilities emerge: minor-major, major-minor, minor-minor, and major-major. The cycle then continues with the introduction of a new fundamental tone, repeating the pattern with four fresh tonal options. This iterative exploration unfolds across the entirety of David Tsvariani's composition series, offering a nuanced exploration of tonal diversity within the polytonal context.
$2.99 ≈
2.68€
Chop Suey!
Chop Suey!
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Piano seul
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AVANCÉ
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Rock
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System of a Down
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Genti Guxholli
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Chop Suey!
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Genti Guxholli
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.729792 By System of a Down. By Daron Malakian, John Dolmayan, Serj Tankian, and Shavo Odadjian. Arranged by Genti Guxholl...
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Piano Solo - Level 5 - SKU: A0.729792 By System of a Down. By Daron Malakian, John Dolmayan, Serj Tankian, and Shavo Odadjian. Arranged by Genti Guxholli. Pop,Rock. Score. 8 pages. Genti Guxholli #4366170. Published by Genti Guxholli (A0.729792). Website: www.littlesheetmusic.comEmail: littlesheetmusic@gmail.com.
$6.99 ≈
6.26€
Radio/video
Radio/video
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Piano seul
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AVANCÉ
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Rock
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System of a Down
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Genti Guxholli
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Radio/video
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Genti Guxholli
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.729791 By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Genti Guxholli. Pop,Rock. Score. 7 pages. Gen...
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Piano Solo - Level 5 - SKU: A0.729791 By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Genti Guxholli. Pop,Rock. Score. 7 pages. Genti Guxholli #4365214. Published by Genti Guxholli (A0.729791). Website: www.littlesheetmusic.comEmail: littlesheetmusic@gmail.com.
$6.99 ≈
6.26€
Lonely Day
Lonely Day
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Piano seul
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AVANCÉ
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Metal/Hard Rock
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Rock
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System of a Down
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Greg Skalak
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Lonely Day
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Greg Skalak
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SheetMusicPlus
By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Greg Skalak. Metal, Rock. Score. 4 pages. Greg Skalak #5336725. Published by Greg...
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By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Greg Skalak. Metal, Rock. Score. 4 pages. Greg Skalak #5336725. Published by Greg Skalak
$9.99 ≈
8.95€
Lonely Day
Lonely Day
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Piano, Voix
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AVANCÉ
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Metal/Hard Rock
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System of a Down
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Genti Guxholli
#
Lonely Day
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Genti Guxholli
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SheetMusicPlus
By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Genti Guxholli. Metal, Rock. Score. 6 pages. Genti Guxholli #3686151. Published b...
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By System of a Down. By Daron Malakian and Serj Tankian. Arranged by Genti Guxholli. Metal, Rock. Score. 6 pages. Genti Guxholli #3686151. Published by Genti Guxholli
$5.99 ≈
5.37€
Dynamite
Dynamite
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Batterie
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AVANCÉ
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Rock
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System of a Down
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Dynamite
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DrummersLoveSheets
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SheetMusicPlus
By System of a Down. Arranged by DrummersLoveSheets. Individual Part, Sheet Music Single. 5 pages. Published by DrummersLoveSheets...
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By System of a Down. Arranged by DrummersLoveSheets. Individual Part, Sheet Music Single. 5 pages. Published by DrummersLoveSheets
$4.99 ≈
4.47€
Course of Empire
Course of Empire
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Kyle Vanderburg
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Course of Empire
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NoteForge
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - SKU: A0.1448781 Composed by Kyle Vanderburg. 21st Century,Classical. 58 ...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - SKU: A0.1448781 Composed by Kyle Vanderburg. 21st Century,Classical. 58 pages. NoteForge #1028595. Published by NoteForge (A0.1448781). Course of Empire takes its title and theme from a series of paintings by Thomas Cole. Over the course of these five paintings, an imaginary city rises and falls. A large boulder atop a cliff watches the scenes unfold: a wild and untamed landscape in the first painting; an agrarian, peaceful, arcadian state in the second; a decadent celebration in the third; the sack and destruction of the city in the fourth; and the ruins in the last.I tried to work unifying musical motives throughout the quintet. The first movement, The State of Nature, begins with a twelve-tone texture. There is no sense of tonal hierarchy or pitch center. The music is in a state of balance, adhering to a natural system not discernable to the listener. The bassoon introduces the main motive representing the cliff, a pastoral sort of hiccup.The second movement, Daydreams of Arcadia, begins with and develops the cliff motive, and has a more defined tonality. There is more action throughout the movement, as we’re led to the peaceful beginnings of civilization. The Empire motive, a series of syncopated chords, shows up toward the end of the movement: This is the beginning of the end, where our imaginary city makes the change from existing in harmony with nature to conquering it.The third movement, Fulfillment of Empire, begins with a cliff motive that has been added to, almost to the point of unrecognizability. Scenes of empire are shown musically, from a grand parade, to a show of naval forces, to the temple that occupies most of the painting. The Empire theme returns, expanded upon, but somehow sounding a little overextended.The fourth movement, The Fall, alternates between unfriendly chords (and noises) and the Empire motive. Every iteration of the Empire motive gets a little weaker, as the foundations of the civilization are destroyed. The movement ends with a lone flute.Movement five, Redemption, features some scenes that are familiar, but are now in ruins. The movement slips slowly back into the twelve-tone texture from the beginning. The Empire motive, or something like it, makes a brief appearance and passes through the ensemble, starting in the upper voices and sinking into the lower.
$25.00 ≈
22.40€
Out Of My System
Out Of My System
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Jamie Lidell
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Benedikt Perse
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Out Of My System
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Benedikt Perse
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SheetMusicPlus
Choral Choir - Level 5 - SKU: A0.1157763 By Jamie Lidell. By Dominic Mocky Salole and Jamie Lidderdale. Arranged by Benedikt Perse. A Cappella,Funk. Oct...
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Choral Choir - Level 5 - SKU: A0.1157763 By Jamie Lidell. By Dominic Mocky Salole and Jamie Lidderdale. Arranged by Benedikt Perse. A Cappella,Funk. Octavo. 15 pages. Benedikt Perse #758098. Published by Benedikt Perse (A0.1157763). Funky SMATBarB choir arrangement, where the difficulty level rises with every verse.
$5.00 ≈
4.48€
Calon Lan - A Pure Heart, Welsh Hymn
Calon Lan - A Pure Heart, Welsh Hymn
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Chorale SATB
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AVANCÉ
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John Hughes, lyrics by Daniel
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Daniel White
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Calon Lan - A Pure Heart, Wels
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Dan White
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1016441 Composed by John Hughes, lyrics by Daniel James. Arranged by Daniel White. Celtic,Sacred,World. Octavo. ...
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Choral Choir (SATB) - Level 5 - SKU: A0.1016441 Composed by John Hughes, lyrics by Daniel James. Arranged by Daniel White. Celtic,Sacred,World. Octavo. 13 pages. Dan White #5711005. Published by Dan White (A0.1016441). Calon Lan is one of the most beloved songs of Wales, and here is the choral arrangement that you have been waiting for of it! Suitable for festival competition, sacred worship service, or any choral concert, this arrangement features SSAATTBB, piano, pennywhistle (which can be substituted), and includes an IPA transcription of the Welsh lyrics.About the arranger:Daniel White is currently a DMA candidate at the University of Utah in Choral Conducting, including secondary areas in Music Education and Vocology. He holds a BA in Music from Eastern Oregon University, an MM in Choral Conducting from Portland State University, and also attended Cardiff University in Wales where he completed intensive Welsh language programs. White retired from the Mormon Tabernacle Choir in 2017 after nearly ten years of membeship; he has also sang with the Utah Symphony Chorus, Utah Opera Chorus, and Cor CF1 in Wales. He holds teaching licenses in Utah, taught in the public education system for several years, and welcomes any commissions, recorded performances of his works, and questions! Please feel free to contact him at: danny_boy99@yahoo.com.
$4.00 ≈
3.58€
Foo Fighters,Joe Cocker,System of a Down,Tool,U2 : 5 Riffs de batterie mythiques, Difficile (solos originaux), Vol. 2
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Batterie
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AVANCÉ
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Rock
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Pop musique
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Foo Fighters,Joe Cocker,System
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5 Riffs de batterie mythiques,
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Tomplay
Téléchargez la partition Batterie 5 Riffs de batterie mythiques, Difficile (solos originaux), Vol. 2. Partition avec audio Play Along. Pop/rock...
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Téléchargez la partition Batterie 5 Riffs de batterie mythiques, Difficile (solos originaux), Vol. 2. Partition avec audio Play Along. Pop/rock
19.99€
Ambrosia 140 for Percussion a Voce
Ambrosia 140 for Percussion a Voce
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Celebrity Chamber Players
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Ambrosia 140 for Percussion a
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Father Ambrose Press
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SheetMusicPlus
Small Ensemble Percussion,Vibraphone,Xylophone - Level 5 - Interactive Download SKU: A0.1083597 By Celebrity Chamber Players. By Marshall Thomas. This ed...
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Small Ensemble Percussion,Vibraphone,Xylophone - Level 5 - Interactive Download SKU: A0.1083597 By Celebrity Chamber Players. By Marshall Thomas. This edition: Interactive Download. Children,Classical,Film/TV. Score and parts. 8 pages. Duration 50. Father Ambrose Press #169R9UezoiFtIH6rMhpfuB. Published by Father Ambrose Press (A0.1083597). Key: Eb major.A Rube Goldberg device captured in musical sequences of time... the workings of an AFR breakfast system that delivered without me having so much as to order a meal... a lovely, savory confection for the senses...
$16.00 ≈
14.33€
The Spirits of Cahuachi - Score Only
The Spirits of Cahuachi - Score Only
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Contemporain
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Antonio Gervasoni
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The Spirits of Cahuachi - Scor
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Antonio Gervasoni
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SheetMusicPlus
Large Ensemble - Level 5 - SKU: A0.1088411 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 20 pages. Antonio Gervasoni #692676. ...
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Large Ensemble - Level 5 - SKU: A0.1088411 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 20 pages. Antonio Gervasoni #692676. Published by Antonio Gervasoni (A0.1088411). Single-movement work for 10 musicians. This piece is inspired by the reading of the book 'Behind the Silence: Music in the Nasca Culture', by the Polish scientist Anna Gruszczyńska-Ziółkowska, which describes the discovery, in 1994, of several antaras (Andean pan flutes) made of clay in a temple in the city of Cahuachi, the political and cultural center of the Nasca culture. The book includes tables with the exact tones that each tube is capable of producing. The Spirits of Cahuachi uses these tones, i.e. their approximate counterpart in our modern tuning system, treating them in different ways, sometimes as chords, sometimes as scales, sometimes as pitch-class sets, fragmenting the sets, and then overlapping the resulting groups, etc. Of course, there is no intention to produce something that resembles the music of the ancient Nasca inhabitants. We don't know anything about their music. None of it has survived with the exception of these tones, these 'spirits' contained in the pipes of the antaras discovered in Cahuachi.
$6.99 ≈
6.26€
Weather Systems
Weather Systems
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Piano seul
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AVANCÉ
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Contemporain
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Andrew M
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Weather Systems
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Andrew M. Smith
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.938731 Composed by Andrew M. Smith. Contemporary. Score. 33 pages. Andrew M. Smith #6686851. Published by Andrew M. Smith...
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Piano Solo - Level 5 - SKU: A0.938731 Composed by Andrew M. Smith. Contemporary. Score. 33 pages. Andrew M. Smith #6686851. Published by Andrew M. Smith (A0.938731). Weather Systems Weather Systems, for piano and spoken word, is a suite in seven movements. Each movement is inspired by, and named after, a weather pattern. The spoken word text is lovingly borrowed from literary greats Walt Whitman, Mary Shelley, James Joyce, Emily Dickinson, Ralph Waldo Emerson, and Robert Frost. I. Sunshower Text: Rain Has Fallen All the Day, James Joyce To One Shortly To Die, Walt Whitman II. Cloudless Breeze Text: Proud Music of the Storm, Walt Whitman III. Frost Text: Frankenstein, Mary Shelley Awake Ye Muses Nine, Sing Me A Strain Divine, Emily Dickinson IV. Flurries Text: The Snow-Storm, Ralph Waldo Emerson V. Approaching Storm Text: Frankenstein, Mary Shelley VI. Tempest Text: Rise, O Days Walt Whitman VII. Rainfall Text: My November Guest, Robert Frost
$9.99 ≈
8.95€
Dances of the Brush-Footed Butterfly
Dances of the Brush-Footed Butterfly
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Piano seul
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AVANCÉ
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Peter Eotvos
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Dances of the Brush-Footed But
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Schott Music - Digital
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SheetMusicPlus
Piano - difficult - SKU: S9.Q11144 Composed by Peter Eotvos. This edition: Sheet music. Downloadable. Duration 4 minutes. Schott Music - Digital #Q11144...
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Piano - difficult - SKU: S9.Q11144 Composed by Peter Eotvos. This edition: Sheet music. Downloadable. Duration 4 minutes. Schott Music - Digital #Q11144. Published by Schott Music - Digital (S9.Q11144). Dance of the Butterflies: Brush-footed butterflies dance in a very special way with their four special legs. Eötvös transfers their miniature dances to the keyboard and sends a greeting from his garden. Beautiful music, not easy to play, sometimes in three systems.
$7.99 ≈
7.16€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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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)
$23.99 ≈
21.49€
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System Of A Down
