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19 sheet music found Easter's Here! (12 Fun, Exciting Songs for Elementary Students) Piano Accompaniment Track
Easter's Here! (12 Fun, Exciting Songs for Elementary Students) Piano Accompaniment Track # Piano Accompaniment # Carol Troutman Wiggins # Easter's Here! # Carol Troutman Wiggins # SheetMusicPlus
Choir,Hand Percussion,Handbell,Multi-Percussion,Orff Instrument,Piano,Voice,Xylophone - Digital Download SKU: A0.1065861 Composed by Carol Troutman Wiggi...(+)
Choir,Hand Percussion,Handbell,Multi-Percussion,Orff Instrument,Piano,Voice,Xylophone - Digital Download SKU: A0.1065861 Composed by Carol Troutman Wiggins. Children,Easter. Accompaniment. Duration 1014. Carol Troutman Wiggins #6684011. Published by Carol Troutman Wiggins (A0.1065861). Easter's Here! Instant Concert Series (12 Fun, Exciting Songs for Elementary Students)Piano Accompaniment Track - includes all songs from the book!EASTER’S HERE! Instant Concert Series was written to continue the celebration of the Easter season. The songs appeal to the elementary child who is full of excitement! This book includes songs about Easter eggs, baskets, the Easter Bunny, ducks & chicks, spring, butterflies, and lilies that I hope will create a lifetime of enjoyment from learning the music. Percussion instruments, bells, triangles, maracas, and ribbons and scarves were added to help the student have fun!12 Great Easter songs for Elementary age studentsUnison/2-Part Mixed VoicesIncludes notation for actions/percussion instruments in the scoreChord symbols for added instruments Comptine D'un Autre Été: L'après-midi
Comptine D'un Autre Été: L'après-midi # Easy Piano # BEGINNER # Yann Tiersen # Fabio Eduardo de Oliveira # Comptine D'un Autre Été: L'a # Fabio Eduardo # SheetMusicPlus
Easy Piano - Level 1 - Digital Download SKU: A0.1198791 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Contemporary,Film/TV,Pop...(+)
Easy Piano - Level 1 - Digital Download SKU: A0.1198791 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Contemporary,Film/TV,Pop. Score. 2 pages. Fabio Eduardo #797874. Published by Fabio Eduardo (A0.1198791). FREE DOWNLOAD PLAYBACKÂ https://www.fabioeduardomusiconline.com/freedownloadYann Tiersen is a French Breton musician and composer. His musical career is split between studio recordings, music collaborations and film soundtracks songwriting. His music incorporates a large variety of classical and contemporary instruments, primarily the electric guitar, the piano, synthesisers and the violin, but also instruments such as the melodica, xylophone, toy piano, harpsichord, piano accordion or even typewriter. Comptine D'un Autre Été: L'après-midi
Comptine D'un Autre Été: L'après-midi # Piano, Vocal and Guitar # BEGINNER # Yann Tiersen # Fabio Eduardo de Oliveira # Comptine D'un Autre Été: L'a # Fabio Eduardo # SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1198790 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Contempora...(+)
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1198790 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Contemporary,Film/TV,Pop. Score. 2 pages. Fabio Eduardo #797873. Published by Fabio Eduardo (A0.1198790). FREE DOWNLOAD PLAYBACKÂ https://www.fabioeduardomusiconline.com/freedownloadYann Tiersen is a French Breton musician and composer. His musical career is split between studio recordings, music collaborations and film soundtracks songwriting. His music incorporates a large variety of classical and contemporary instruments, primarily the electric guitar, the piano, synthesisers and the violin, but also instruments such as the melodica, xylophone, toy piano, harpsichord, piano accordion or even typewriter. Comptine D'un Autre Été: L'après-midi
Comptine D'un Autre Été: L'après-midi # Easy Piano # BEGINNER # Yann Tiersen # Fabio Eduardo de Oliveira # Comptine D'un Autre Été: L'a # Fabio Eduardo # SheetMusicPlus
C Instrument - Level 1 - Digital Download SKU: A0.1198792 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Contemporary,Film/TV,P...(+)
C Instrument - Level 1 - Digital Download SKU: A0.1198792 By Yann Tiersen. By Yann Tiersen. Arranged by Fabio Eduardo de Oliveira. Contemporary,Film/TV,Pop. Lead Sheet / Fake Book. 2 pages. Fabio Eduardo #797875. Published by Fabio Eduardo (A0.1198792). FREE DOWNLOAD PLAYBACKÂ https://www.fabioeduardomusiconline.com/freedownloadYann Tiersen is a French Breton musician and composer. His musical career is split between studio recordings, music collaborations and film soundtracks songwriting. His music incorporates a large variety of classical and contemporary instruments, primarily the electric guitar, the piano, synthesisers and the violin, but also instruments such as the melodica, xylophone, toy piano, harpsichord, piano accordion or even typewriter. Wellerman sea shanty arranged for epic Bigband
Wellerman sea shanty - epic Bigband # Piano, Vocal and Guitar # INTERMEDIATE # Traditional # Sophia Transistor # Arrangement Contest # Wellerman sea shanty - epic Bi # Sophia Transistor # SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.851136 Composed by Traditional. Arranged by Sophia Transistor. Jazz,Ragtime,World. Score. 4...(+)
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.851136 Composed by Traditional. Arranged by Sophia Transistor. Jazz,Ragtime,World. Score. 49 pages. Sophia Transistor #6463869. Published by Sophia Transistor (A0.851136). This Bigband Arrangement is part of the NDR Bigband Composition & Arrangement Contest.The Wellerman sea shanty (soon may the wellerman come) is an ear catching tune and the best part: It's public domain! Therefor it went viral in early 2021 on TikTok and YouTube.This Big Band Arrangement features:- full score in landscape modeset of parts in DIN A4:- Alto Sax 1 (with instrument change to flute)- Alto Sax 2- Tenor Sax 1- Tenor Sax 2- Bari Sax- Trumpet 1- Trumpet 2- Trumpet 3- Trumpet 4- Trombone 1- Trombone 2- Trombone 3- Trombone 4- Guitar- Piano Keys- Bass- Drums- Steel Drum (Percussion)Jazz Solos are set for trumpet 2 and trombone 2.The unique instrument Steel Drum was added to achieve a caribbean flair.It can be played by the percussionist or the band leader.If a steel drum is not available, please consider using a xylophone, marimba or any kind of glockenspiel.The genre (stil) is set to funk (no swing) to find some remembrance to the traditional Bigband Arrangement of John Brown's Other Body.In addition a part is added, that introduces some electro swing moves as the one in Louis Primas Sing Sing Sing. The last crossreference can be made to the computer game music of The Course of Monkey Island, because the Pirate atmosphere meets ups with a sea shanty.If you have any comments, please contact me, I would be very happy if this arrangement will be played by any kind of Big Band.YouTube Play Along: https://youtu.be/eSaqtmG2E0k The North Wind and The Robin (The North Wind Doth Blow): A Partner Song for 2-Part Choir
The North Wind and The Robin (The North Wind Doth Blow): A Partner Song for 2-Part Choir # Piano Accompaniment # BEGINNER # Joanna Mills # Joanna Mills # B) # The North Wind and The Robin # Joanna Mills Music # SheetMusicPlus
Piano Accompaniment - Level 1 - Digital Download SKU: A0.1390908 By Joanna Mills. By Traditional/Joanna Mills. Arranged by Joanna Mills. Children,Christm...(+)
Piano Accompaniment - Level 1 - Digital Download SKU: A0.1390908 By Joanna Mills. By Traditional/Joanna Mills. Arranged by Joanna Mills. Children,Christmas,Folk,Holiday,Traditional. Accompaniment. Duration 144. Joanna Mills Music #974441. Published by Joanna Mills Music (A0.1390908). Use this piano accompaniment track for rehearsals and performances of this traditional children's song (also known as The North Wind Doth Blow), which has been arranged as a partner song for 2- Part choir by Joanna Mills, including two original counter melodies, with piano accompaniment and optional ORFF glockenspiel/xylophone part (G,D, A, & B). The sheet music includes the full score, lyric sheet, and glockenspiel part (with both fixed and movable do notation options). Set in the key of G, it has an accessible range for most voices (C4 - D5), and is a great way to introduce your unison choir to harmony singing! Approximate performance time 2:30. Perfect for fall and winter concerts, competitions, and festivals! Viva Las Vegas from VIVA LAS VEGAS
Viva Las Vegas from VIVA LAS VEGAS # Piano, Vocal and Guitar # INTERMEDIATE # Contemporary # Elvis Presley # Jan Angermüller # Viva Las Vegas from VIVA LAS V # Elbsound.studio # SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.856979 By Elvis Presley. By Doc Pomus and Mort Shuman. Arranged by Jan Angermüller. Cont...(+)
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.856979 By Elvis Presley. By Doc Pomus and Mort Shuman. Arranged by Jan Angermüller. Contemporary. Score. 47 pages. Elbsound.studio #3484607. Published by Elbsound.studio (A0.856979). Transcription of the original Elvis Presley recording. Yes, it sounds like the original.Except for the original electric guitar part which is a little bit advanced, it's also good to play in a school ensemble.The percussion instrumentation allows a flexible ensemble size.This arrangement was originally written for a professional show band.Duration: 2m25s, 44 pages (plus 3 preview pages)Instrumentation:Piano, drum set, e-guitar, bass guitar (or upright bass), optional percussion instruments (cabasa, tambourine, shaker, bongo, claves, xylophone, tom rim), 2 optional trumpets, 2 optional trombones, vocal, optional backing vocals Sky Cloud Winter Breeze
Sky Cloud Winter Breeze # Melody line, (Lyrics) and Chords # EASY # Contemporary # Orba Squara # Marco Polo C # Sky Cloud Winter Breeze # MARCO POLO IGNACIO # SheetMusicPlus
Instrumental Duet,Piano C Instrument - Level 2 - Digital Download SKU: A0.881028 By Orba Squara. By M. Warren Davis. Arranged by Marco Polo C. Ignacio. C...(+)
Instrumental Duet,Piano C Instrument - Level 2 - Digital Download SKU: A0.881028 By Orba Squara. By M. Warren Davis. Arranged by Marco Polo C. Ignacio. Contemporary. Lead Sheet / Fake Book. 2 pages. MARCO POLO IGNACIO #6519781. Published by MARCO POLO IGNACIO (A0.881028). Orba Squara is the stage name of New York-based singer/songwriter Mitch Davis. He performed the song: Sky Cloud Winter Breeze, which was featured in a Goodyear TV commercial. His song Perfect Timing (This Morning) was featured in television commercials for Apple's iPhone. Another song of his, Brand New Day, appeared on the movie Wedding Daze.He has recorded two full-length albums, Sunshyness and The Trouble With Flying. Davis uses many organic instruments on the album. These include mandolin, glockenspiel, accordion, sitar, violin, harmonica, toy pianos, xylophone and ukulele. Not only were all the songs written by Davis, but he performed everything on the recordings himself. Just One Candle (Vocal Solo, Chords, Piano Accompaniment, Optional C Instrument)
Just One Candle (Vocal Solo, Chords, Piano Accompaniment, Optional C Instrument) # Piano Accompaniment # EASY # Cathy Stamegna # Cathy Stamegna # Just One Candle # Cathy Stamegna # SheetMusicPlus
Large Ensemble Vocal Solo,Voice - Level 2 - Digital Download SKU: A0.780729 Composed by Cathy Stamegna. Arranged by Cathy Stamegna. Children,Christmas,Ea...(+)
Large Ensemble Vocal Solo,Voice - Level 2 - Digital Download SKU: A0.780729 Composed by Cathy Stamegna. Arranged by Cathy Stamegna. Children,Christmas,Easter,Hanukkah,Sacred. 8 pages. Cathy Stamegna #5293197. Published by Cathy Stamegna (A0.780729). Just One Candle (Vocal Solo, Chords, Piano Accompaniment, Optional C Instrument). Suitable for Advent, Christmas, Lent, Hanukkah, Peace…many occasions, the one candle personifies how one person can make a difference. It goes on to ask, Why can’t we just be nice…giving, caring…makes our lights shine. Appropriate for Children’s Choir and older. Optional C Instrument part (flute, violin, xylophone, etc.). Chords allow for guitar, ukulele, harp to add depth to your performance.  Accompaniment track available separately. Performance Time: approx. 2:40. Music in the Air! (2-Part) Piano Accompaniment Track
Music in the Air! (2-Part) Piano Accompaniment Track # Piano Accompaniment # Carol Troutman Wiggins # Music in the Air! # Carol Troutman Wiggins # SheetMusicPlus
Choir,Handbell,Orff Instrument,Piano,Ukulele,Voice - Digital Download SKU: A0.1065671 Composed by Carol Troutman Wiggins. Children,Concert,Standards. Acc...(+)
Choir,Handbell,Orff Instrument,Piano,Ukulele,Voice - Digital Download SKU: A0.1065671 Composed by Carol Troutman Wiggins. Children,Concert,Standards. Accompaniment. Duration 118. Carol Troutman Wiggins #4363473. Published by Carol Troutman Wiggins (A0.1065671). MUSIC IN THE AIR! Piano TrackUnison/2-Part Equal Voicesw/Optional Handbells, Xylophone, Glockenspiel, Resonator Bells, OrffEverywhere you go, there's music in the air! Ypu can find it anywhere! This happy, upbeat song is great for opening up your concert!Excellent for elementary students who play bells or Orff instrumentsBells are optionalMay be sung in unison or in 2 partsPretty harmonies in 3rdsChords included for additional instruments (Ukulele would be great!). Canon in D piano accompaniment (for arrangements by Samuel Stokes)
Canon in D piano accompaniment (for arrangements by Samuel Stokes) # Piano solo # Classical # Johann Pachelbel # Samuel Stokes # Canon in D piano accompaniment # SamuelStokesMusic.com # SheetMusicPlus
Piano - Digital Download SKU: A0.1068323 Composed by Johann Pachelbel. Arranged by Samuel Stokes. Baroque,Christmas,Concert,Holiday,Wedding. Accompanimen...(+)
Piano - Digital Download SKU: A0.1068323 Composed by Johann Pachelbel. Arranged by Samuel Stokes. Baroque,Christmas,Concert,Holiday,Wedding. Accompaniment. Duration 164. SamuelStokesMusic.com #5017623. Published by SamuelStokesMusic.com (A0.1068323). This is a piano accompaniment track for Samuel Stokes arrangements of Pachelbel's Canon in D. Please make sure that the arrangement you have is actually in the key of concert D before purchasing. In some arrangements, the Canon is put in a different key for the convenience of the particular instrument. Learn more about Samuel Stokes at https://www.SamuelStokesMusic.comThis accompaniment is the correct key for the following Samuel Stokes arrangements of Canon in D: Flute, Bb clarinet, Bb tenor saxophone, theremin, oboe, xylophone, and marimba. Concerto
Concerto # Piano and Orchestra # ADVANCED # Contemporary # Gyorgy Ligeti
# Concerto # Schott Music -
Digital # SheetMusicPlus
Piano and orchestra -
difficult - Digital Download
For piano and orchestra.
Composed by Gyorgy Ligeti
(1923-2006). This edition:
solo part. Downloadable.
D...(+)
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)