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Melody A
Not classified 9,242

Piano & keyboards
Piano solo 5,880
Big Note Piano 3,136
Easy Piano 2,943
Piano, Voice 2,349
Organ 1,900

C Instruments 1,153
Piano, Vocal and Guitar 743
Piano Accompaniment 477
1 Piano, 4 hands 257
Piano Trio: piano, violin, cello 127
Piano (band part) 88
Keyboard 60
2 Pianos, 4 hands 44
Piano Quartet: piano, violin, viola, cello 34
Accordion 30
Organ, Piano (duet) 17
Organ, Trumpet (duet) 15
Piano Quartet: piano, 2 violins, cello 15
1 Piano, 6 hands 13
Piano Quintet: piano, 2 violins, viola, cello 12
Harpsichord 6
2 Pianos, 8 hands 2
2 Accordions 1

+ 18 instrumentations

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Guitars
Melody line, (Lyrics) and Chords 4,630
Guitar notes and tablatures 671
Guitar 582
Ukulele 246
Guitar (band part) 173

Piano, Guitar (duet) 152
Dulcimer 139
2 Guitars (duet) 71
Mandolin 57
Banjo 32
Bass guitar 28
4 Guitars (Quartet) 25
Lyrics and Chords 21
2 Dulcimers (duet) 13
Guitar Ensemble 7
Mandolin, Guitar (duet) 6
3 Guitars (trio) 6
2 Ukuleles 4
Guitar, Violin, Cello (trio) 3
2 Mandolins (duet) 1
Guitar, Orchestra 1

+ 16 instrumentations

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Voice
Choral SATB 2,404
Choral 3-part 958
Choral 2-part 909
Choral TTBB 697
Choral Unison 623

Choral SSAA 617
Vocal duet, Piano 237
Alto voice, Piano 154
Soprano voice, Piano 148
Tenor voice, Piano 143
Vocal duet 112
Baritone voice, Piano 84
High voice 78
Voice solo 70
Tenor voice 35
Soprano voice 26
Medium voice, Piano 15
Low voice, Piano 11
Choral 7
Choral SSATB 5
Choral SSAATTBB 4
Choral SSATTB 2
Choral SSAB, Piano 2
Choral SATTBB A Cappella 1
Mezzo-Soprano voice, Piano 1
Soli, Mixted choir and accompaniment 1
Soprano voice, Orchestra 1

+ 22 instrumentations

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Woodwind
Flute and Piano 1,070
Clarinet and Piano 990
Oboe, Piano (duet) 823
2 Saxophones (duet) 689
Saxophone (band part) 627

Alto Saxophone and Piano 617
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 599
Saxophone Quartet: 4 saxophones 563
Flute 547
Clarinet 477
Flute, Oboe, Clarinet, Bassoon 455
Tenor Saxophone and Piano 447
2 Flutes (duet) 425
Saxophone Quintet: 5 Saxophones 395
2 Clarinets (duet) 395
Alto Saxophone 367
Clarinet Quartet: 4 clarinets 280
Oboe (band part) 279
Tenor Saxophone 217
Soprano Saxophone and Piano 212
Flute, Clarinet (duet) 195
Baritone Saxophone, Piano 169
Saxophone, Clarinet (duet) 167
Clarinet, Violin (duet) 156
2 Oboes (duet) 149
Oboe 137
Flute Quartet: 4 flutes 131
3 Saxophones (trio) 125
Oboe, Bassoon (duet) 119
Clarinet, Trumpet (duet) 116
Clarinet, Harp (duet) 112
Oboe, Clarinet (duet) 106
Flute, Violin 96
3 Clarinets (trio) 95
Flute and Guitar 88
Clarinet Ensemble 85
Clarinet Quintet: 5 clarinets 85
Flute (band part) 83
Flute Trio: 3 flutes 80
Saxophone ensemble 77
Clarinet and Viola 74
Flute, Viola (duet) 72
Flute ensemble 71
English horn, Piano 70
Flute, Saxophone (duet) 65
Oboe, Flute 65
2 Recorders (duet) 63
Bass Clarinet, Piano 62
Flute Quintet : 5 flutes 54
Flute, Violoncello 53
Recorder 52
Flute, Trumpet (duet) 52
Clarinet, Bassoon (duet) 51
Descant (Soprano) Recorder 50
Soprano Saxophone 50
Flute, Oboe, Clarinet (trio) 48
Clarinet (band part) 45
Clarinet, Cello (duet) 43
Oboe, Cello 41
Treble (Alto) Recorder 39
Flute, Oboe (duet) 39
2 Flutes, Piano 38
Baritone Saxophone 34
Oboe, Clarinet, Bassoon (trio) 32
Saxophone 30
Recorder Quartet 30
Oboe, Violin (duet) 28
Clarinet, Guitar (duet) 28
English Horn 27
Flute, Clarinet and Bassoon. 27
Recorder Ensemble 25
Tenor Recorder 24
Ocarina 23
Flute, Trombone (duet) 23
Flute, Violin, Piano 21
5 Recorders 21
Flute, Clarinet, Piano (trio) 18
Harmonica 18
Flute, Oboe, Bassoon 17
Oboe and viola (duet) 16
2 Clarinets, Piano 15
Oboe, Harp 15
Eb Instruments 14
Piccolo 14
Saxophone and Guitar 14
Saxophone and Harp 13
Flute, Violin and Violoncello 11
English Horn, Guitar (duet) 11
Flute, Cello, Piano (trio) 11
Bass Clarinet 11
Flute, Clarinet, Horn and Bassoon (Quartet) 9
3 Recorders (trio) 9
Flute, Bassoon, and Piano 9
Flute, Oboe, Piano (trio) 8
Flute, harp and violin 7
Clarinet, Cello, Piano (trio) 7
Piccolo, Piano 6
Clarinet, Trombone (duet) 6
Flute, Organ (duet) 5
Oboe, Cello and Piano 5
Saxophone and Piano 5
Oboe, Guitar (duet) 5
Clarinet, Double bass (duet) 5
2 Saxophones, Piano 5
Flute, trombone and piano 4
Oboe, Clarinet and Piano (Trio) 4
Flute, Viola and Piano 4
Clarinet, Bassoon, Piano (trio) 4
Pennywhistle 4
Descent (Soprano) Recorder, Piano 4
2 Oboes, Piano 4
Flute, Violin, Violoncello and Piano 3
Clarinet, Tuba 3
2 Clarinets, Bassoon 3
Saxophone and Organ 3
Oboe, Violin, Viola and Violoncello (Quartet) 3
Flute and Strings Trio 3
Bagpipe 3
Treble (Alto) Recorder, Piano 3
Recorder, Piano 2
2 English horns and Pianoforte 2
Oboe, Bassoon and Piano 2
Flute, Cello, Guitar 2
Clarinet Quintet: Clarinet, String Quartet 2
4 Oboes 2
Clarinet, Organ 2
Flute, Clarinet, Violin (trio) 2
3 Oboes 2
Flute, Tuba (duet) 2
Recorder, Harp 2
Clarinet, trumpet and piano 2
Oboe, Trumpet (duet) 1
Saxophone, Bassoon (duet) 1
Pan Flute 1
Treble (Alto) Recorder, Basso continuo 1
Clarinette, Viola and Piano (trio) 1
Oboe, Trombone (duet) 1
Flute and String Quartet 1
2 Oboes, 2 Horns and 2 Bassoons 1
2 Flutes and Harp 1
Oboe ensemble 1
Flute, Harp and Cello 1
Flute, Oboe, Violin 1
Clarinet Quartet: Clarinet, Violin, Viola, Cello 1
Saxophone and cello 1

+ 140 instrumentations

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Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 621
Trombone and Piano 600
Trumpet, Piano 594
Trumpet 567
French Horn and Piano 447

Trombone (band part) 381
Trombone 370
French horn 338
Brass quartet : 2 trumpets, trombone, tuba 321
Trumpet (band part) 308
Tuba 276
Tuba and Piano 261
2 Trumpets (duet) 187
2 Trombones (duet) 172
Brass Quartet 165
Trumpet, Trombone (duet) 135
Brass Quartet: 2 trumpets, horn, trombone 122
Trumpet, Saxophone (duet) 121
2 French horns (duet) 97
French horn (band part) 84
Tuba (band part) 81
Euphonium, Piano (duet) 77
English horn, Piano 70
Brass Quartet: 4 trombones 54
Trumpet, Horn (duert) 45
2 Tubas (duet) 45
Brass Quartet: 4 horns 40
Trombone ensemble 37
English Horn 27
Trumpet ensemble 21
Euphonium 21
Horn Ensemble 20
Tuba and Organ 20
Horn, Cello (duet) 20
3 Trombones (trio) 20
2 Euphoniums and 2 Tubas 19
Brass Quartet: 4 trumpets 18
Trumpet, Harp 16
French Horn and Harp 15
Bass Clef Instruments 14
3 Trumpets (trio) 14
Brass Trio 12
4 Tubas 12
English Horn, Guitar (duet) 11
Trombone, Horn (duet) 9
Bb Instruments 9
3 French horns (trio) 8
Trumpet, Tuba (duet) 7
Bass Trombone 7
Trumpet and Guitar 6
3 Tubas (trio) 6
Trombone, Organ 6
Horn, Tuba (duet) 5
Euphonium, Tuba (duet) 5
2 Trumpets, Keyboard (piano or organ) 5
Trumpet, Cello, Piano 5
French horn and Basson (duet) 5
2 French horns, Piano 4
Bass Trombone and Piano 4
Trumpet, Cello (duet) 4
Trombone, Violin (duet) 3
2 English horns and Pianoforte 2
Trombone, Tuba (duet) 2
Brass Quartet: 2 trumpets, 2 trombones 2
Trumpet, violin (duet) 2
Horn and Organ 2
2 Euphoniums (duet) 1
4 Euphoniums 1
Trumpet, Trombone, Piano 1
Trumpet, Bassoon (duet) 1
Trombone, Viola (duet) 1
Trombone, cello (duet) 1
Horn, Cello and Piano 1
Trumpet, Euphonium (duet) 1
3 Euphoniums 1
Clarinet, Horn (duet) 1

+ 71 instrumentations

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Strings
String Quartet: 2 violins, viola, cello 1,433
Violin and Piano 1,370
Cello, Piano 864
Viola, Piano 812
Violin 726

Cello 587
Violin, Cello (duet) 478
Harp 423
Viola 401
2 Violins (duet) 378
String Trio: violin, viola, cello 307
String Quintet: 2 violins, viola, cello, bass 286
2 Cellos (duet) 266
Double Bass 259
Double bass, Piano (duet) 248
Violin, Viola (duet) 222
Harp, Flute (duet) 219
2 Violas (duet) 197
String Trio: 2 violins, cello 185
2 Harps (duet) 176
Viola (band part) 120
Doublebass (band part) 116
Viola, Cello (duet) 113
Harp, Violin (duet) 110
Violin (band part) 84
Violin, Guitar (duet) 64
Violin, Bassoon (duet) 49
4 Cellos 45
Piano Trio: Violin, Viola, Piano 35
String Trio: 3 violins 33
2 Double basses (duet) 30
String Trio: 3 cellos 26
Cello, Guitar (duet) 25
Cello (band part) 21
Viola and Bassoon 20
String Trio: 3 violas 19
Harp, Cello (duet) 18
String quartet: 4 violins 18
String Trio: 2 violins, viola 14
Cello, String Bass (duet) 14
String Quintet: 2 violins, viola, 2 cellos 13
Violin ensemble 12
String Quartet : 4 violas 11
Viola and Harp 11
Viola ensemble 10
Harp, Voice 10
Cello, Organ 8
Viola, Guitar (duet) 7
String Quintet: 2 violins, 2 violas, cello 7
2 Violins, Piano 6
Autoharp 6
Violin, Organ 6
Flute, Doublebass (duet) 5
2 Violas, Piano 4
2 Cellos, Piano 4
Violin, Tuba (duet) 4
Harp, Trombone (duet) 4
Cello Ensemble 3
Violin, Trumpet and Piano 3
Violin, Clarinet, Piano (trio) 3
Harp and mandolin 2
Viola, Organ 2
4 Harps 2
Harp and Piano 2
3 Harps 1
4 Double Basses 1

+ 61 instrumentations

- Retract

Percussion & orchestra
Concert band 2,843
String Orchestra 707
Handbells 595
Jazz Ensemble 392
Brass ensemble 267

Orchestra 254
Drum (band part) 89
Jazz combo 88
Chamber Orchestra 83
Percussion Ensemble 59
Marching band 43
Xylophone, Piano 26
Percussion (band part) 19
Vibraphone 18
Marimba 18
Xylophone 14
Drums 11
2 Xylophones 9
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 8
School Ensemble 5
Marimba, Piano (duet) 2
Vibraphone and Marimba 2
2 Marimbas 1
Flexible Instrumentation 1
Brass Quintet: other combinaisons 1
Percussion 1
Piano and Orchestra 1

+ 22 instrumentations

- Retract

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Melody A

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)

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