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In the End
Not classified 9,615

Piano & keyboards
Piano solo 5,597
Piano, Voice 2,744
Easy Piano 1,767
C Instruments 893
Piano, Vocal and Guitar 882

Organ 706
Piano Accompaniment 199
1 Piano, 4 hands 191
Piano Trio: piano, violin, cello 109
Accordion 80
2 Pianos, 4 hands 79
Big Note Piano 58
Piano Quartet: piano, violin, viola, cello 47
Piano (band part) 32
Organ, Piano (duet) 16
Piano Quintet: piano, 2 violins, viola, cello 15
Piano Quartet: piano, 2 violins, cello 14
Harpsichord 13
Organ, Trumpet (duet) 12
1 Piano, 6 hands 5
Keyboard 3
Accordion ensemble 1
Accordion, Piano 1
Melody line, Piano 1
2 Accordions 1

+ 20 instrumentations

- Retract

Guitars
Guitar notes and tablatures 823
Guitar 533
Ukulele 274
Melody line, (Lyrics) and Chords 172
Dulcimer 98

Bass guitar 93
2 Guitars (duet) 70
Guitar (band part) 59
Mandolin 39
Piano, Guitar (duet) 34
4 Guitars (Quartet) 32
Lyrics and Chords 22
Banjo 18
2 Dulcimers (duet) 17
3 Guitars (trio) 13
Guitar Ensemble 9
Baritone Ukulele 5
Mandolin, Guitar (duet) 5
2 Mandolins (duet) 3
Ukulele Ensemble 3
Mandolin, Piano (duet) 3
Electric Bass (band part) 3
Lap Steel Guitar 1
Plectrum Orchestra 1
Guitar, Violin, Cello (trio) 1

+ 20 instrumentations

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Voice
Choral SATB 3,210
Choral 3-part 892
Choral 2-part 754
Choral TTBB 456
Choral Unison 361

Choral SSAA 325
Vocal duet, Piano 203
Soprano voice, Piano 133
Tenor voice, Piano 101
Vocal duet 77
Alto voice, Piano 77
Baritone voice, Piano 56
High voice 36
Voice solo 27
Medium voice, Piano 23
Choral SSAATTBB 16
Low voice, Piano 14
Choral 13
Tenor voice 10
Mezzo-Soprano voice, Piano 6
Choral SSATB 5
Low voice 5
Choral SSATTB 3
Soprano voice 3
Soli, Mixted choir and accompaniment 2
Choral SATBB 2
Choral SSAB a cappella 1
Vocal duet, Organ 1
Choral SSAB, Piano 1
Choral SATTBB A Cappella 1
Voice, Guitar 1

+ 26 instrumentations

- Retract

Woodwind
Saxophone Quartet: 4 saxophones 740
Flute and Piano 665
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 611
Flute, Oboe, Clarinet, Bassoon 608
Clarinet and Piano 513

Oboe, Piano (duet) 439
Clarinet 405
2 Saxophones (duet) 374
Flute 357
Alto Saxophone and Piano 355
Saxophone Quintet: 5 Saxophones 352
Saxophone (band part) 323
2 Flutes (duet) 311
Descant (Soprano) Recorder 295
Ocarina 287
Clarinet Quartet: 4 clarinets 281
Tenor Saxophone and Piano 266
Alto Saxophone 257
2 Clarinets (duet) 229
Treble (Alto) Recorder 223
Harmonica 216
Soprano Saxophone and Piano 201
Tenor Saxophone 191
Oboe (band part) 171
Flute Quartet: 4 flutes 162
3 Saxophones (trio) 138
Clarinet Ensemble 127
Flute, Clarinet (duet) 126
Baritone Saxophone, Piano 121
3 Clarinets (trio) 113
Saxophone ensemble 105
Clarinet Quintet: 5 clarinets 94
2 Oboes (duet) 86
Flute ensemble 85
Clarinet, Violin (duet) 78
Oboe, Bassoon (duet) 72
English horn, Piano 71
Flute Trio: 3 flutes 69
2 Recorders (duet) 62
Oboe, Clarinet (duet) 60
Oboe 60
Flute Quintet : 5 flutes 59
Clarinet, Bassoon (duet) 55
Saxophone, Clarinet (duet) 54
Bass Clarinet, Piano 54
Flute, Violoncello 45
Treble (Alto) Recorder, Piano 44
Flute and Guitar 44
2 Flutes, Piano 43
Clarinet, Cello (duet) 43
Flute, Clarinet and Bassoon. 43
Flute, Oboe, Clarinet (trio) 41
Flute, Violin 41
Clarinet (band part) 39
Recorder 38
Oboe, Cello 38
Flute, Viola (duet) 36
Clarinet, Trumpet (duet) 36
Oboe, Flute 34
Flute, Clarinet, Piano (trio) 33
Clarinet and Viola 33
Recorder Quartet 32
Flute (band part) 31
Oboe, Clarinet, Bassoon (trio) 28
Soprano Saxophone 27
Flute, Oboe, Bassoon 23
Flute, Cello, Piano (trio) 23
Flute, Saxophone (duet) 22
Flute, Oboe (duet) 21
Flute, Trumpet (duet) 21
Flute, Violin, Piano 21
2 Clarinets, Piano 20
5 Recorders 19
Clarinet, Guitar (duet) 19
Clarinet, Cello, Piano (trio) 18
Flute, Violin and Violoncello 16
Flute, Viola and Piano 15
Flute, Clarinet, Horn and Bassoon (Quartet) 15
Flute, trombone and piano 14
Recorder, Piano 14
Flute, Bassoon, and Piano 14
Baritone Saxophone 14
Oboe, Violin (duet) 13
Oboe and viola (duet) 13
English Horn 12
Flute, Oboe, Piano (trio) 10
Tenor Recorder 9
Flute, Violin, Violoncello and Piano 9
Descent (Soprano) Recorder, Piano 9
Oboe, Trombone (duet) 7
Flute, harp and violin 7
3 Recorders (trio) 7
Clarinet, Harp (duet) 7
Clarinet, Tuba 6
Flute, Trombone (duet) 6
Clarinet, Trombone (duet) 6
Saxophone 6
Pennywhistle 6
4 Oboes 5
Eb Instruments 5
Oboe, Cello and Piano 5
Flute, Tuba (duet) 5
Oboe, Violin, Piano 5
3 Oboes 5
Piccolo, Piano 5
Clarinette, Viola and Piano (trio) 5
Recorder Ensemble 4
English Horn, Guitar (duet) 4
2 Saxophones, Piano 4
Oboe, Bassoon and Piano 4
Clarinet, trumpet and piano 4
Oboe, Clarinet and Piano (Trio) 4
Oboe ensemble 4
Bass Clarinet 4
2 Clarinets, Bassoon 4
Saxophone and Guitar 4
Flute, Harp and Cello 3
Flute, Oboe, Violin 3
Flute, Cello, Guitar 3
Oboe, Guitar (duet) 3
Saxophone and Organ 3
Oboe, Harp 3
Flute and Strings Trio 3
Piccolo 3
Clarinet, Bassoon, Piano (trio) 3
Bagpipe 2
Flute, Viola and Cello 2
2 English horns and Pianoforte 2
2 Flutes, 2 Clarinets (Quartet) 2
Flute, Clarinet, Violin (trio) 2
Clarinet Quintet: Clarinet, String Quartet 2
Flute, Viola and harp 2
Clarinet, Organ 2
Wind ensemble 2
Oboe, Trumpet (duet) 1
Treble (Alto) Recorder, Basso continuo 1
Flute, Organ (duet) 1
Clarinet, Saxophone, Piano 1
Oboe, Violin, Viola and Violoncello (Quartet) 1
2 Flutes and Harp 1
2 Oboes, Piano 1
Pan Flute 1
Flute, Violin, Guitar 1
Saxophone and Piano 1
2 Flutes, Basso continuo 1

+ 140 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 747
Trumpet 471
Brass quartet : 2 trumpets, trombone, tuba 464
Trombone and Piano 394
Trumpet, Piano 383

French Horn and Piano 314
Trombone 217
Brass Quartet 204
French horn 193
Trombone (band part) 185
Brass Quartet: 2 trumpets, horn, trombone 175
Trumpet (band part) 173
Tuba 142
Tuba and Piano 138
2 Trombones (duet) 131
2 Trumpets (duet) 127
Brass Quartet: 4 trombones 101
Euphonium, Piano (duet) 93
2 French horns (duet) 85
Trumpet ensemble 77
Trumpet, Trombone (duet) 73
English horn, Piano 71
Trombone ensemble 62
French horn (band part) 56
Brass Quartet: 4 horns 55
Trumpet, Saxophone (duet) 45
Brass Quartet: 4 trumpets 36
Brass Trio 34
Tuba (band part) 32
Trumpet, Horn (duert) 31
2 Tubas (duet) 24
Euphonium 23
Horn Ensemble 20
3 Trumpets (trio) 20
3 Trombones (trio) 18
Horn, Cello (duet) 15
Trumpet, Bassoon (duet) 14
Trumpet, Cello (duet) 14
Brass Quartet: 2 trumpets, 2 trombones 13
English Horn 12
4 Tubas 12
Trumpet, Tuba (duet) 11
2 Euphoniums and 2 Tubas 11
Trumpet, Cello, Piano 11
Trombone, Horn (duet) 10
Trombone, Violin (duet) 9
French horn and Basson (duet) 9
Trumpet, Trombone, Piano 8
Tuba and Organ 8
Bass Trombone and Piano 6
3 French horns (trio) 6
Bb Instruments 5
2 Euphoniums (duet) 5
French Horn and Harp 5
Trombone, Tuba (duet) 5
English Horn, Guitar (duet) 4
Horn, Tuba (duet) 4
Euphonium, Tuba (duet) 4
Bass Clef Instruments 4
2 Trumpets, Keyboard (piano or organ) 3
3 Tubas (trio) 3
3 Euphoniums 3
Trumpet, Harp 3
F Instruments 3
Bass Trombone 3
2 English horns and Pianoforte 2
Trombone, Organ 2
2 French horns, Piano 2
Horn and Organ 1
Horn, Trumpet, Trombone (trio) 1
Trumpet, violin (duet) 1
Trombone and Orchestra 1
Tuba ensemble 1

+ 68 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 1,802
Violin and Piano 888
Cello, Piano 596
Violin 559
Viola, Piano 511

Cello 432
Violin, Cello (duet) 381
String Trio: violin, viola, cello 340
Harp 330
Viola 241
2 Violins (duet) 228
String Quintet: 2 violins, viola, cello, bass 215
2 Cellos (duet) 191
String Trio: 2 violins, cello 172
Violin, Viola (duet) 155
2 Harps (duet) 136
Double Bass 133
Double bass, Piano (duet) 125
2 Violas (duet) 117
Violin (band part) 105
Viola (band part) 99
Doublebass (band part) 69
Viola, Cello (duet) 65
4 Cellos 50
String Trio: 3 violins 37
Violin, Bassoon (duet) 35
String Trio: 3 cellos 34
Piano Trio: Violin, Viola, Piano 34
Cello (band part) 26
Violin, Guitar (duet) 26
String quartet: 4 violins 24
Harp, Flute (duet) 21
String Trio: 3 violas 19
String Quartet : 4 violas 16
2 Double basses (duet) 16
Viola and Bassoon 16
String Quintet: 2 violins, viola, 2 cellos 15
String Trio: 2 violins, viola 14
Violin ensemble 14
Viola ensemble 13
Cello, String Bass (duet) 12
Violin, Clarinet, Piano (trio) 12
Harp, Violin (duet) 10
Harp, Voice 10
Violin, Tuba (duet) 8
Cello, Guitar (duet) 7
String Quintet: 2 violins, 2 violas, cello 6
Viola, Guitar (duet) 6
Harp, Cello (duet) 6
Viola and Harp 5
2 Violins, Piano 5
Violin, Basso continuo 4
Flute, Doublebass (duet) 3
2 Violas, Piano 3
Harp, Violin, Violoncello 3
3 double basses 2
Violin, Organ 2
Cello, Orchestra 2
Harp and Piano 2
Cello, Organ 2
Viola and orchestra 2
Harp, Trombone (duet) 2
Cello Ensemble 2
Violin, Trumpet and Piano 1
String trio 1
3 Harps 1
Violoncello, Basso continuo 1
4 Double Basses 1
Harp and mandolin 1
Violin, Cello, Clarinet 1
2 Cellos, Piano 1
Autoharp 1
2 Violins and Basso 1

+ 68 instrumentations

- Retract

Percussion & orchestra
Concert band 3,206
Orchestra 755
String Orchestra 745
Jazz Ensemble 465
Brass ensemble 434

Handbells 347
Chamber Orchestra 233
Marching band 115
Jazz combo 112
Percussion Ensemble 81
Drums 61
Drum (band part) 45
Percussion (band part) 36
Marimba 27
Xylophone, Piano 17
Vibraphone 17
Xylophone 13
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 8
2 Xylophones 7
Percussion 5
Brass Quintet: other combinaisons 4
Orchestra, Violin 4
School Ensemble 2
Piano and Orchestra 2

Voice and Orchestra 1
Vibraphone and Marimba 1
3 Percussions 1
2 Snare Drums (duet) 1
Big band 1
Timpani (band part) 1
Cajon 1
Conga 1
2 Marimbas 1
3 Marimbas 1

+ 29 instrumentations

- Retract

Others
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In the End

Piano and Orchestra

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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)

$23.99

Konzert fur Piano und Orchester, Opus 15

Konzert fur Piano und Orchester, Opus 15 #Piano and Orchestra #Giovanni Sgambati #Konzert fur Piano und Orcheste #Bisel Classics - Digital #SheetMusicPlus

Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel ...(+)

Piano and orchestra - Digital Download SKU: BQ.979-0-50179-117-0 Composed by Giovanni Sgambati. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. Opus 15. 223 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-117-0). ISBN 9790501791170.The only piano concerto from this influential Italian composer, it is one characterised by the highest ideals of artistic merit. A substantial work in three movements it is a work of broad themes and even broader spirations. Enough to test the mettle of the most experienced and gifted of performers it is a work which will be remembered for its poetic grandeur as much as for its incendiary pianistic qualities.

$32.95