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Piano & keyboards
Piano solo 5,555
Piano, Voice 2,750
Piano, Vocal and Guitar 2,202
Organ 1,813
Easy Piano 1,753

Big Note Piano 1,010
C Instruments 390
Piano Accompaniment 281
1 Piano, 4 hands 183
Piano Trio: piano, violin, cello 154
Piano (band part) 98
2 Pianos, 4 hands 86
Keyboard 65
Accordion 54
Piano Quartet: piano, violin, viola, cello 32
Organ, Piano (duet) 17
Piano Quintet: piano, 2 violins, viola, cello 16
Organ, Trumpet (duet) 13
Piano Quartet: piano, 2 violins, cello 8
Harpsichord 7
2 Pianos, 8 hands 5
Solo instrument and Organ 5
1 Piano, 6 hands 4
Accordion, Voice 3
Melody line, Piano 2
2 Accordions 2
Accordion ensemble 1

+ 22 instrumentations

- Retract

Guitars
Guitar notes and tablatures 692
Guitar 661
Melody line, (Lyrics) and Chords 467
Bass guitar 401
Ukulele 232

Guitar (band part) 135
2 Guitars (duet) 77
4 Guitars (Quartet) 51
Mandolin 38
Dulcimer 35
Banjo 34
Piano, Guitar (duet) 24
Electric Bass (band part) 18
Lyrics and Chords 17
3 Guitars (trio) 17
Guitar Ensemble 14
Mandolin, Piano (duet) 11
Guitar, Violin, Cello (trio) 3
Baritone Ukulele 3
Mandolin, Guitar (duet) 3
2 Mandolins (duet) 2
Guitar, Orchestra 2
2 Dulcimers (duet) 2
Guitar Tab, Voice, Bass, Drum 1
Ukulele Ensemble 1

+ 20 instrumentations

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Voice
Choral SATB 2,982
Choral 3-part 924
Choral 2-part 656
Choral TTBB 573
Choral Unison 526

Choral SSAA 431
Vocal duet, Piano 120
Vocal duet 87
Voice solo 82
Soprano voice, Piano 78
Alto voice, Piano 67
Baritone voice, Piano 49
Tenor voice, Piano 46
Tenor voice 37
High voice 36
Soprano voice 31
Medium voice, Piano 18
Low voice, Piano 17
Choral SSATB 7
Choral SSAATTBB 6
Choral 6
Mezzo-Soprano voice, Piano 4
Soli, Mixted choir and accompaniment 4
Voice, Guitar 2
Choral SSATTB 2
Low voice 2
Choral SSAB, Piano 1
Choral SSAATB 1
Choral SSAB a cappella 1

+ 24 instrumentations

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Woodwind
2 Saxophones (duet) 1,006
Saxophone Quartet: 4 saxophones 1,003
Flute and Piano 991
Flute, Oboe, Clarinet, Bassoon 842
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 689

Oboe, Piano (duet) 687
Clarinet and Piano 636
Saxophone (band part) 570
Alto Saxophone and Piano 535
Clarinet 529
2 Clarinets (duet) 524
2 Flutes (duet) 507
Clarinet Quartet: 4 clarinets 502
Flute 433
Saxophone, Clarinet (duet) 375
Tenor Saxophone and Piano 339
Alto Saxophone 333
Saxophone Quintet: 5 Saxophones 316
Clarinet, Violin (duet) 281
Clarinet, Trumpet (duet) 230
Flute, Clarinet (duet) 230
Tenor Saxophone 210
2 Oboes (duet) 196
Soprano Saxophone and Piano 193
Flute Quartet: 4 flutes 177
Oboe (band part) 174
Baritone Saxophone, Piano 174
Oboe, Bassoon (duet) 167
Clarinet Ensemble 165
Oboe, Clarinet (duet) 165
Flute, Violin 150
Saxophone ensemble 143
Flute ensemble 142
3 Clarinets (trio) 142
Clarinet and Viola 140
Flute, Saxophone (duet) 131
English horn, Piano 126
Saxophone 124
Clarinet Quintet: 5 clarinets 120
Oboe, Flute 118
Flute, Viola (duet) 113
Flute, Trumpet (duet) 108
Clarinet (band part) 107
3 Saxophones (trio) 103
Flute (band part) 94
Pennywhistle 83
Flute and Guitar 82
Flute Trio: 3 flutes 76
Oboe 75
Flute Quintet : 5 flutes 74
Clarinet, Harp (duet) 65
Bass Clarinet, Piano 61
Recorder 60
2 Recorders (duet) 51
Flute, Oboe, Clarinet (trio) 43
Flute, Harp and Cello 40
2 Flutes, Piano 39
Soprano Saxophone 37
Descant (Soprano) Recorder 37
Clarinet, Guitar (duet) 35
Recorder Quartet 35
Oboe, Clarinet, Bassoon (trio) 29
Baritone Saxophone 28
Flute, Oboe (duet) 28
English Horn 27
Flute, Clarinet, Piano (trio) 27
Clarinet, Bassoon (duet) 26
Treble (Alto) Recorder 26
Flute, Violoncello 23
Flute, Violin, Piano 22
Harmonica 20
3 Recorders (trio) 19
5 Recorders 17
Flute, Clarinet and Bassoon. 16
2 Clarinets, Piano 15
Clarinet, Cello (duet) 14
Oboe, Violin (duet) 14
Flute, harp and violin 14
Flute, Bassoon, and Piano 13
Flute, Cello, Piano (trio) 13
Clarinet, Cello, Piano (trio) 12
Treble (Alto) Recorder, Piano 12
Tenor Recorder 11
Descent (Soprano) Recorder, Piano 11
Ocarina 11
Flute, Oboe, Bassoon 11
Oboe, Guitar (duet) 10
Bass Clarinet 9
Flute, Violin and Violoncello 8
Recorder Ensemble 7
Flute, Clarinet, Horn and Bassoon (Quartet) 7
Saxophone and Guitar 7
English Horn, Guitar (duet) 7
Flute, Oboe, Piano (trio) 7
2 Saxophones, Piano 7
Clarinet, Bassoon, Piano (trio) 7
Oboe, Clarinet and Piano (Trio) 6
Flute, Viola and Piano 6
Oboe, Cello 6
Saxophone and Organ 5
Flute, trombone and piano 5
Clarinet Quintet: Clarinet, String Quartet 4
2 Clarinets, Bassoon 4
Flute, Cello, Guitar 4
Clarinet, Trombone (duet) 4
Oboe, Harp 4
Piccolo 3
Flute, Violin, Violoncello and Piano 3
Oboe, Bassoon and Piano 3
Flute, Trombone (duet) 3
Flute, Organ (duet) 3
3 Oboes 3
Piccolo, Piano 3
Clarinet, trumpet and piano 3
Saxophone and Harp 3
Recorder, Piano 3
Clarinette, Viola and Piano (trio) 2
Eb Instruments 2
2 Oboes, Piano 2
Oboe and viola (duet) 2
Flute, Clarinet, Violin (trio) 2
Flute, Oboe, Violin 2
Clarinet Quartet: Clarinet, Violin, Viola, Cello 1
Clarinet, Organ 1
Flute, Basso continuo 1
Wind ensemble 1
2 Flutes and Harp 1
4 Oboes 1
Bagpipe 1
2 English horns and Pianoforte 1
Oboe ensemble 1
2 Recorders, Piano 1
Treble (Alto) Recorder, Basso continuo 1
Flute and Strings Trio 1
Oboe, Violin, Piano 1
Recorder, Guitar (duet) 1

+ 131 instrumentations

- Retract

Woodbrass
Brass quartet : 2 trumpets, trombone, tuba 727
Brass Quintet: 2 trumpets, horn, trombone, tuba 697
Trumpet 419
Trombone and Piano 417
Trumpet, Piano 391

Trombone (band part) 375
French Horn and Piano 359
Trumpet (band part) 352
Trombone 302
Trumpet, Saxophone (duet) 272
2 Trumpets (duet) 222
French horn 221
2 Trombones (duet) 218
Brass Quartet 205
Trumpet, Trombone (duet) 178
Tuba and Piano 148
Tuba 141
English horn, Piano 126
Brass Quartet: 2 trumpets, horn, trombone 112
Brass Quartet: 4 trombones 97
French horn (band part) 93
Euphonium, Piano (duet) 86
Trombone ensemble 74
Trumpet ensemble 62
Tuba (band part) 62
2 French horns (duet) 59
Brass Trio 40
Brass Quartet: 4 horns 31
English Horn 27
3 Trumpets (trio) 26
2 Tubas (duet) 24
Brass Quartet: 4 trumpets 23
Euphonium 22
Horn Ensemble 18
Trombone, Tuba (duet) 17
2 Euphoniums and 2 Tubas 14
Tuba and Organ 13
4 Tubas 13
3 Trombones (trio) 12
Trumpet, Horn (duert) 9
Bass Clef Instruments 7
English Horn, Guitar (duet) 7
Horn, Tuba (duet) 7
Brass Quintet: 2 trumpets, horn, 2 trombones 6
Trombone, Organ 5
Trombone, Horn (duet) 5
Trumpet, Tuba (duet) 5
3 French horns (trio) 5
Trumpet, Cello, Piano 5
Bass Trombone 4
Bb Instruments 4
Horn, Cello (duet) 4
Euphonium, Tuba (duet) 4
Trumpet, Bassoon (duet) 3
French horn and Basson (duet) 3
French Horn and Harp 3
Trumpet, Cello (duet) 3
Trumpet and Guitar 2
2 Trumpets, Keyboard (piano or organ) 2
3 Tubas (trio) 2
Brass Quartet: 2 trumpets, 2 trombones 2
2 French horns, Piano 2
Trumpet, Harp 2
4 Euphoniums 1
Trumpet, violin (duet) 1
Bass Trombone and Piano 1
Horn and Organ 1
3 Euphoniums 1
2 English horns and Pianoforte 1
Trombone, Violin (duet) 1
Trumpet, Euphonium (duet) 1

+ 66 instrumentations

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Strings
Harp 2,219
String Quartet: 2 violins, viola, cello 2,082
Violin and Piano 1,292
Cello, Piano 617
Violin 548

Viola, Piano 516
Cello 464
Violin, Cello (duet) 427
2 Violins (duet) 394
String Trio: violin, viola, cello 317
Viola 262
Violin, Viola (duet) 248
2 Cellos (duet) 248
2 Violas (duet) 232
Harp, Flute (duet) 146
Doublebass (band part) 144
String Quintet: 2 violins, viola, cello, bass 138
Double Bass 120
Violin (band part) 117
String Trio: 2 violins, cello 111
Double bass, Piano (duet) 111
Viola (band part) 97
2 Harps (duet) 60
Viola, Cello (duet) 54
String Trio: 3 violins 46
Harp, Violin (duet) 46
Cello (band part) 39
4 Cellos 34
Violin, Guitar (duet) 27
String Trio: 3 cellos 22
Piano Trio: Violin, Viola, Piano 21
2 Double basses (duet) 18
Viola ensemble 18
String Quartet : 4 violas 17
Cello, String Bass (duet) 17
Violin ensemble 17
String quartet: 4 violins 16
String Trio: 3 violas 15
Harp (band part) 13
Harp, Cello (duet) 11
Viola and Harp 10
String Quintet: 2 violins, 2 violas, cello 10
Harp and mandolin 9
Cello, Guitar (duet) 9
Harp, Voice 9
String Trio: 2 violins, viola 8
2 Violins, Piano 7
Violin, Bassoon (duet) 7
Cello, Organ 5
Flute, Doublebass (duet) 5
Violin, Organ 4
Harp and Piano 4
4 Double Basses 4
Viola, Guitar (duet) 4
Viola and Bassoon 4
Violin, Clarinet, Piano (trio) 4
2 Violas, Piano 3
Cello, Orchestra 3
Violoncello, Basso continuo 3
Cello Ensemble 3
String Quintet: 2 violins, viola, 2 cellos 3
3 double basses 2
2 Cellos, Piano 2
3 Harps 1
String trio 1
Violin, Trumpet and Piano 1
Harp, Trombone (duet) 1
Violin, Cello, Clarinet 1
Viola, Organ 1
Autoharp 1
Harp, Violin, Violoncello 1

+ 66 instrumentations

- Retract

Percussion & orchestra
Concert band 2,791
String Orchestra 804
Orchestra 621
Jazz Ensemble 617
Handbells 429

Brass ensemble 410
Chamber Orchestra 211
Marching band 179
Jazz combo 150
Drum (band part) 148
Drums 127
Percussion Ensemble 91
Percussion (band part) 84
Marimba 58
Xylophone, Piano 23
Xylophone 21
2 Xylophones 10
Vibraphone 10
School Ensemble 7
Percussion 3
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 2
Bongos 2
Timpani (band part) 2
Vibraphone and Marimba 1
Snare drums 1
Brass Quintet: other combinaisons 1
Big band 1
2 Marimbas 1
Orchestra, Violin 1
Conga 1
Woodwind Quintet 1
Marimba, Piano (duet) 1
Piano and Orchestra 1

Flexible Instrumentation 1
Bodhran 1

+ 30 instrumentations

- Retract

Others
Musical course - Solfege 3
Music Theory 1

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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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