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Ses
Not classified 7,347

Piano & keyboards
Big Note Piano 5,766
Piano solo 5,386
Piano, Voice 1,921
Piano, Vocal and Guitar 1,575
Easy Piano 1,434

Accordion 657
Organ 453
Piano Accompaniment 292
C Instruments 228
1 Piano, 4 hands 159
Piano Trio: piano, violin, cello 71
2 Pianos, 4 hands 40
Piano Quartet: piano, violin, viola, cello 23
Piano (band part) 18
Organ, Trumpet (duet) 9
Piano Quintet: piano, 2 violins, viola, cello 8
Piano Quartet: piano, 2 violins, cello 8
Harpsichord 8
Organ, Piano (duet) 7
Accordion, Voice 3
Melody line, Piano 2
Accordion ensemble 2
2 Pianos, 8 hands 2
1 Piano, 6 hands 1
Keyboard 1

+ 20 instrumentations

- Retract

Guitars
Guitar notes and tablatures 1,085
Guitar 882
Bass guitar 436
Melody line, (Lyrics) and Chords 299
Lyrics and Chords 236

Ukulele 178
2 Guitars (duet) 79
Mandolin 40
Banjo 40
Dulcimer 34
4 Guitars (Quartet) 34
Guitar (band part) 27
Lap Steel Guitar 22
3 Guitars (trio) 17
Piano, Guitar (duet) 16
Guitar Ensemble 9
Mandolin, Guitar (duet) 4
Baritone Ukulele 3
Guitar, Violin, Cello (trio) 3
2 Ukuleles 2
Dobro 2
Mandolin, Piano (duet) 2
2 Mandolins (duet) 1
Band Scores 1
Guitar, Orchestra 1
Plectrum Orchestra 1
Ukulele Ensemble 1
Zither 1
2 Guitars and Piano 1
Lute 1

+ 25 instrumentations

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Voice
Choral SATB 3,190
Choral 3-part 918
Choral TTBB 604
Choral 2-part 558
Choral Unison 389

Choral SSAA 354
Voice solo 134
Soprano voice, Piano 92
Vocal duet, Piano 91
Vocal duet 57
Tenor voice, Piano 41
Choral 37
Alto voice, Piano 19
Choral SSAATTBB 18
High voice 17
Choral SSATB 15
Low voice, Piano 13
Medium voice, Piano 13
Tenor voice 9
Baritone voice, Piano 7
Choral SSATTB 5
Mezzo-Soprano voice, Piano 5
Soli, Mixted choir and accompaniment 4
Soprano voice 4
Voice, Guitar 4
Choral SSAB, Piano 3
High voice, Piano 2
Choral SSAB a cappella 2
Baritone voice 1
Voice, Basso continuo 1
Vocal duet, Organ 1
Low voice 1
Choral SSAATB 1

+ 28 instrumentations

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Woodwind
Flute and Piano 499
Flute 448
Saxophone Quartet: 4 saxophones 385
Clarinet and Piano 360
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 318

Oboe, Piano (duet) 305
2 Saxophones (duet) 304
Clarinet 274
Alto Saxophone and Piano 269
Flute, Oboe, Clarinet, Bassoon 256
Alto Saxophone 216
Saxophone (band part) 208
Tenor Saxophone and Piano 190
Clarinet Quartet: 4 clarinets 181
2 Clarinets (duet) 179
2 Flutes (duet) 176
Saxophone Quintet: 5 Saxophones 155
Tenor Saxophone 143
Soprano Saxophone and Piano 137
3 Clarinets (trio) 102
Baritone Saxophone, Piano 96
Oboe (band part) 93
Flute Quartet: 4 flutes 91
Saxophone 89
Clarinet Ensemble 84
3 Saxophones (trio) 77
Oboe 77
Flute ensemble 76
Flute, Clarinet (duet) 74
2 Oboes (duet) 68
Clarinet (band part) 68
Clarinet Quintet: 5 clarinets 63
Flute and Guitar 62
Saxophone ensemble 62
Flute Trio: 3 flutes 57
Clarinet, Violin (duet) 53
Saxophone, Clarinet (duet) 52
2 Recorders (duet) 47
Soprano Saxophone 46
English horn, Piano 44
Oboe, Bassoon (duet) 40
Baritone Saxophone 36
Oboe, Clarinet (duet) 36
Descant (Soprano) Recorder 35
Bass Clarinet, Piano 35
Flute, Oboe, Clarinet (trio) 34
Clarinet, Trumpet (duet) 33
Clarinet, Bassoon (duet) 32
Recorder 28
Treble (Alto) Recorder 28
Clarinet and Viola 27
Flute, Violin 27
Flute Quintet : 5 flutes 26
Flute, Clarinet and Bassoon. 25
Flute, Viola (duet) 23
Recorder Quartet 23
Flute (band part) 22
Oboe, Flute 20
Flute, Trumpet (duet) 19
Flute, Oboe, Bassoon 18
Oboe, Clarinet, Bassoon (trio) 18
Clarinet, Guitar (duet) 18
Flute, Oboe (duet) 17
Flute, Saxophone (duet) 17
Flute, Clarinet, Piano (trio) 17
3 Recorders (trio) 16
Recorder Ensemble 16
Flute, Violoncello 14
Treble (Alto) Recorder, Piano 13
Clarinet, Cello (duet) 13
Clarinet, Harp (duet) 13
Flute, Violin and Violoncello 12
Oboe, Cello 12
Harmonica 12
2 Flutes, Piano 12
Tenor Recorder 11
Piccolo, Piano 11
5 Recorders 10
Flute, trombone and piano 9
2 Clarinets, Piano 8
Oboe, Violin (duet) 8
Flute, Cello, Piano (trio) 8
Flute, Violin, Piano 8
Descent (Soprano) Recorder, Piano 8
Oboe, Harp 7
2 Saxophones, Piano 7
Piccolo 6
English Horn 6
Saxophone and Harp 6
Clarinet, Cello, Piano (trio) 6
Saxophone and Guitar 6
Oboe and viola (duet) 5
4 Oboes 5
English Horn, Guitar (duet) 5
Eb Instruments 5
Recorder, Piano 5
Flute, Cello, Guitar 5
Flute, Bassoon, and Piano 5
Saxophone and Organ 5
Pennywhistle 5
Oboe, Guitar (duet) 4
Flute, Violin, Violoncello and Piano 4
Bass Clarinet 4
Saxophone and Piano 3
Flute, harp and violin 3
Flute, Viola and Piano 3
Flute, Oboe, Piano (trio) 3
Harmonica, Piano 2
Oboe ensemble 2
Oboe and Orchestra 2
Clarinet, trumpet and piano 2
Clarinet, Tuba 2
2 English horns and Pianoforte 2
2 Clarinets, Bassoon 2
Flute, Tuba (duet) 2
Clarinet, Trombone (duet) 2
Oboe, Violin, Viola and Violoncello (Quartet) 2
Oboe, Trombone (duet) 2
Flute and Strings Trio 2
Ocarina 2
Pan Flute 1
Oboe, Violin, Piano 1
Clarinet, Double bass (duet) 1
Flute, Orchestra 1
Recorder, Guitar (duet) 1
Clarinet Quintet: Clarinet, String Quartet 1
3 Oboes 1
Flute, Trombone (duet) 1
Recorder, Harp 1
Flute, Basso continuo 1
Flute, Harp and Cello 1
2 Recorders, Piano 1
Saxophone, Tuba (duet) 1
Clarinet Quartet: Clarinet, Violin, Viola, Cello 1
English horn, Harp (duet) 1
Wind ensemble 1
Flute, Clarinet, Horn and Bassoon (Quartet) 1

+ 132 instrumentations

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Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 388
Trumpet 352
Trumpet, Piano 264
Trombone and Piano 241
Trombone 209

French Horn and Piano 198
Brass quartet : 2 trumpets, trombone, tuba 158
French horn 144
Trombone (band part) 132
Tuba 129
Trumpet (band part) 123
Brass Quartet: 2 trumpets, horn, trombone 113
Tuba and Piano 105
2 Trombones (duet) 83
2 Trumpets (duet) 81
Brass Quartet 65
Euphonium, Piano (duet) 62
Brass Quartet: 4 trombones 56
2 French horns (duet) 54
Trumpet, Trombone (duet) 53
English horn, Piano 44
French horn (band part) 44
Trombone ensemble 43
Trumpet, Saxophone (duet) 35
Trumpet, Horn (duert) 26
2 Tubas (duet) 23
2 Euphoniums and 2 Tubas 20
Brass Quartet: 4 horns 20
Tuba (band part) 17
Euphonium 16
Trumpet ensemble 16
Brass Quartet: 4 trumpets 15
Tuba and Organ 14
Trombone, Tuba (duet) 13
Brass Trio 11
Bass Trombone 10
Bass Clef Instruments 9
Horn Ensemble 9
Trumpet, Tuba (duet) 8
Trumpet, Cello (duet) 8
French Horn and Harp 7
3 Trombones (trio) 7
Trumpet, Harp 7
Euphonium, Tuba (duet) 6
4 Tubas 6
English Horn 6
Bb Instruments 6
Bass Trombone and Piano 6
English Horn, Guitar (duet) 5
Brass Quartet: 2 trumpets, 2 trombones 4
Trombone, Horn (duet) 4
Horn, Cello (duet) 4
Trombone, Organ 3
2 Euphoniums (duet) 3
3 French horns (trio) 3
3 Euphoniums 3
French horn and Basson (duet) 3
Horn and Organ 2
3 Tubas (trio) 2
2 English horns and Pianoforte 2
Trombone and Orchestra 2
3 Trumpets (trio) 1
Cornet 1
Trombone, Violin (duet) 1
4 Euphoniums 1
Clarinet, Horn (duet) 1
English horn, Harp (duet) 1
Trumpet, violin (duet) 1
Trumpet, Trombone, Piano 1
Trumpet, Bassoon (duet) 1

+ 65 instrumentations

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Strings
String Quartet: 2 violins, viola, cello 1,008
Violin and Piano 622
Violin 615
Cello 388
2 Double basses (duet) 349

Cello, Piano 342
Viola, Piano 311
Harp 311
Violin, Cello (duet) 214
Viola 202
2 Violins (duet) 170
String Trio: violin, viola, cello 168
2 Cellos (duet) 128
Violin, Viola (duet) 127
Double Bass 108
Violin (band part) 94
2 Violas (duet) 92
Double bass, Piano (duet) 81
String Quintet: 2 violins, viola, cello, bass 77
4 Double Basses 65
String Trio: 2 violins, cello 59
2 Harps (duet) 58
Doublebass (band part) 57
Viola (band part) 57
3 double basses 43
Cello (band part) 38
4 Cellos 38
Viola, Cello (duet) 38
Violin, Guitar (duet) 24
Harp, Flute (duet) 21
Piano Trio: Violin, Viola, Piano 21
String quartet: 4 violins 18
String Trio: 3 violins 18
String Trio: 3 cellos 16
Cello, String Bass (duet) 15
Cello, Guitar (duet) 15
Violin, Bassoon (duet) 14
Harp, Violin (duet) 11
String Quartet : 4 violas 10
String Trio: 3 violas 10
Harp, Cello (duet) 9
Violin, Clarinet, Piano (trio) 7
Viola and Harp 7
Harp, Voice 5
Viola, Guitar (duet) 5
String Quintet: 2 violins, 2 violas, cello 5
String Trio: 2 violins, viola 4
Flute, Doublebass (duet) 4
Viola and Bassoon 4
Violin, Basso continuo 3
Harp, Trombone (duet) 3
Double basses ensemble 3
Cello, Orchestra 3
Violin ensemble 3
String Quintet: 2 violins, viola, 2 cellos 3
2 Violins, Piano 3
Cello, Organ 2
Viola ensemble 2
Violin, Organ 2
Violoncello, Basso continuo 2
Harp (band part) 2
Harp, Violin, Violoncello 1
Violin, Tuba (duet) 1
String trio 1
Autoharp 1
3 Harps 1

+ 61 instrumentations

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Percussion & orchestra
Concert band 1,871
String Orchestra 642
Orchestra 465
Handbells 310
Drums 307

Brass ensemble 250
Jazz Ensemble 242
Chamber Orchestra 175
Jazz combo 93
Marching band 90
Percussion Ensemble 59
Percussion (band part) 55
Percussion 30
Marimba 30
Drum (band part) 24
Snare drums 20
Vibraphone 12
Xylophone 11
Xylophone, Piano 7
Flexible Instrumentation 7
Timpani (band part) 7
2 Snare Drums (duet) 6
School Ensemble 6
2 Xylophones 3
Conga 2
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 2
Bodhran 2
Bongos 2
Woodwind Quintet 2
Timpani 2
Orchestra, Violin 1
Big band 1
Brass Quintet: other combinaisons 1
Drums-Marching band 1
Xylophone or Marimba or Vibraphone 1
Cajon 1
Piano and Orchestra 1

Marimba, Piano (duet) 1
3 Percussions 1

+ 34 instrumentations

- Retract

Others
Music Theory 19
Musical course - Solfege 16
Stationery 2

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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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