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Come Fly With Me Trombone 3
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You've selected:
Come Fly With Me Trombone 3
Sheetmusic to print
14 sheet music found
<
1
Come Fly With Me - Trombone 3
Come Fly With Me - Trombone 3
#
Trombone (band part)
#
EASY
#
Jazz
#
Frank Sinatra
#
Rick Stitzel
#
Come Fly With Me - Trombone 3
#
Hal Leonard - Digital
#
SheetMusicPlus
Jazz band Trombone 3 - Level 2 - Digital Download SKU: HX.227599 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Rick Stitzel. Jazz,Sta...
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Jazz band Trombone 3 - Level 2 - Digital Download SKU: HX.227599 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Rick Stitzel. Jazz,Standards. Individual instrument part. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.227599).
$6.00 ≈
5.46€
Come Fly With Me - Trombone 2
Come Fly With Me - Trombone 2
#
Trombone (band part)
#
INTERMEDIATE
#
Jazz
#
James Van Heusen and Sammy Cah
#
Paul Murtha
#
Come Fly With Me - Trombone 2
#
Hal Leonard - Digital
#
SheetMusicPlus
Concert band Trombone 2 - Level 3 - Digital Download SKU: HX.226929 Composed by James Van Heusen and Sammy Cahn. Arranged by Paul Murtha. Jazz,Standards....
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Concert band Trombone 2 - Level 3 - Digital Download SKU: HX.226929 Composed by James Van Heusen and Sammy Cahn. Arranged by Paul Murtha. Jazz,Standards. Individual instrument part. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.226929).
$6.00 ≈
5.46€
Come Fly With Me - Trombone 1
Come Fly With Me - Trombone 1
#
Trombone (band part)
#
INTERMEDIATE
#
Jazz
#
James Van Heusen and Sammy Cah
#
Paul Murtha
#
Come Fly With Me - Trombone 1
#
Hal Leonard - Digital
#
SheetMusicPlus
Concert band Trombone 1 - Level 3 - Digital Download SKU: HX.226928 Composed by James Van Heusen and Sammy Cahn. Arranged by Paul Murtha. Jazz,Standards....
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Concert band Trombone 1 - Level 3 - Digital Download SKU: HX.226928 Composed by James Van Heusen and Sammy Cahn. Arranged by Paul Murtha. Jazz,Standards. Individual instrument part. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.226928).
$6.00 ≈
5.46€
Come Fly With Me
Come Fly With Me
#
Trombone
#
INTERMEDIATE/ADVANCED
#
Jazz
#
James Van Heusen
#
Bobby Hesch
#
Come Fly With Me
#
Bobby Hesch
#
SheetMusicPlus
Trombone Solo - Level 4 - Digital Download SKU: A0.839258 Composed by James Van Heusen. Arranged by Bobby Hesch. Jazz. Individual part. 3 pages. Bobby He...
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Trombone Solo - Level 4 - Digital Download SKU: A0.839258 Composed by James Van Heusen. Arranged by Bobby Hesch. Jazz. Individual part. 3 pages. Bobby Hesch #5373543. Published by Bobby Hesch (A0.839258). ***COME FLY WITH ME***!!! WRITTEN FOR FRANK SINATRA IN 1957!!! YOU MAY HEAR ANGELS CHEER CAUSE WE'RE TOGETHER!!! LET'S PLAY SOME JAZZ!!! KEY OF Cb!!! LOTS OF COURTESY ACCIDENTALS & ARTICULATION MARKS!!! LOW Gb - HIGH Gb!!! CHECK OUT THE MP3 FOR JAZZ STYLE & INTERPRETATION!!!LOTS OF RUNS & ARPEGGIATED PASSAGES!!! HAVE FUN!!! CONTACT INFORMATION:bobbyhesch@yahoo.com
$4.99 ≈
4.54€
Come Fly With Me
Come Fly With Me
#
Jazz
#
James Van Heusen
#
Daryl McKenzie
#
Come Fly With Me
#
Daryl McKenzie
#
SheetMusicPlus
Large Ensemble Bass Voice,Cello,Double Bass,Drums,Guitar,Keyboard,Percussion,Piano,Saxophone,Trombone,Trumpet,Viola,Violin - Level 4 - Digital Download SKU: ...
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Large Ensemble Bass Voice,Cello,Double Bass,Drums,Guitar,Keyboard,Percussion,Piano,Saxophone,Trombone,Trumpet,Viola,Violin - Level 4 - Digital Download SKU: A0.717672 Composed by James Van Heusen. Arranged by Daryl McKenzie. Jazz. Score and parts. 60 pages. Daryl McKenzie #3096857. Published by Daryl McKenzie (A0.717672). Sinatra Classic arranged for Big Band (5 Saxes with Flute double on Alto 1, 4 Trumpets, 4 Trombones, Piano/Gtr, Bass, Drums), optional Strings (Vln 1, Vln 2, Vla, Vcl, CB) and Male Vocal (vocal part not included). Key of Bb major. Includes addition 2nd Keyboard part (Strings and mallet percussion) and additional Percussion part (Xylo/Glock).Same Arrangement for Small Band (3 Horns) also available on SMPMore Arrangements by Daryl McKenzie: https://www.sheetmusicplus.com/publishers/daryl-mckenzie/6128
$79.99 ≈
72.76€
Come Fly With Me
Come Fly With Me
#
Orchestra
#
INTERMEDIATE/ADVANCED
#
Frank Sinatra
#
Matt Amy
#
Come Fly With Me
#
Matt Amy Music
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1453792 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Matt Amy. Broadway,Contempo...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1453792 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Matt Amy. Broadway,Contemporary,Film/TV,Jazz,Musical/Show,Pop. 99 pages. Matt Amy Music #1033041. Published by Matt Amy Music (A0.1453792). Key: Bb majorBPM: 144Style: SwingDuration: 2:58“ Ensemble type: Pops OrchestraFull Recording (MIDI): Come Fly With Me (MIDI)Instrumentation- Flute 1, 2- Oboe 1, 2- Clarinet 1, 2- Bassoon 1, 2- Horn 1, 2- Horn 3, 4- Trumpet 1, 2, 3- Trombone 1, 2, 3- Tuba- Voice- Piano- Guitar- Acoustic Bass (Rhythm Section)- Drums- Percussion 1- Percussion 2 - Timpani- Harp- Violin 1- Violin 2- Viola- Cello- ContrabassClick the following link for more arrangements by Matt AmyContact Matt here
$75.00 ≈
68.22€
Come Fly With Me
Come Fly With Me
#
Jazz combo
#
INTERMEDIATE/ADVANCED
#
Frank Sinatra
#
Matt Amy
#
Come Fly With Me
#
Matt Amy Music
#
SheetMusicPlus
Jazz Combo - Level 4 - Digital Download SKU: A0.1453791 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Matt Amy. Broadway,Contemporary...
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Jazz Combo - Level 4 - Digital Download SKU: A0.1453791 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Matt Amy. Broadway,Contemporary,Film/TV,Jazz,Musical/Show,Pop. 65 pages. Matt Amy Music #1033040. Published by Matt Amy Music (A0.1453791). Key: Ab majorBPM: 144Style: SwingDuration: 3:49“ Ensemble type: Big Band Instrumentation- Vocal- Trumpet 1- Trumpet 2- Trombone- Alto Sax- Tenor Sax- Bari Sax- Guitar- Piano- Bass- Drums- Strings (opt.)Click the following link for more arrangements by Matt AmyContact Matt here
$30.00 ≈
27.29€
Come Fly With Me
Come Fly With Me
#
Jazz Ensemble
#
INTERMEDIATE
#
Jazz
#
Frank Sinatra
#
Toshi Clinch
#
Come Fly With Me
#
Toshi Clinch Productions
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1200217 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Toshi Clinch. ...
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1200217 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Toshi Clinch. Jazz. Score and parts. 50 pages. Toshi Clinch Productions #799019. Published by Toshi Clinch Productions (A0.1200217). Originally arranged by Quincy Jones for the Sinatra at the Sands (1966) album, this version has been transcribed and adapted by Toshi Clinch for a smaller ensemble.Instrumentation:VoiceTrumpet x2Alto SaxTenor SaxTromboneGuitarPianoBass Drums.
$50.00 ≈
45.48€
Come Fly With Me - Trombone
Come Fly With Me - Trombone
#
Trombone (band part)
#
Broadway
#
Frank Sinatra
#
Mac Huff
#
Jazz
#
Come Fly With Me - Trombone
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By Frank Sinatra. By Sammy Cahn and James Van Heusen. Arranged by Mac Huff. Combo. Concert; Jazz; Musical/Show; Pop; Standards. EPak. 2 pages. Duration 3:05. Pu...
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By Frank Sinatra. By Sammy Cahn and James Van Heusen. Arranged by Mac Huff. Combo. Concert; Jazz; Musical/Show; Pop; Standards. EPak. 2 pages. Duration 3:05. Published by Hal Leonard - Digital Sheet Music
$7.00 ≈
6.37€
Come Fly With Me - Trombone 3
Come Fly With Me - Trombone 3
#
Trombone (band part)
#
Jazz
#
Sammy Cahn and James Van Heuse
#
John Berry
#
Come Fly With Me - Trombone 3
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By Sammy Cahn and James Van Heusen. Arranged by John Berry. Jazz; Standards. Jazz Band. 2 pages. Published by Hal Leonard - Digital Sheet Music ...
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By Sammy Cahn and James Van Heusen. Arranged by John Berry. Jazz; Standards. Jazz Band. 2 pages. Published by Hal Leonard - Digital Sheet Music
$6.00 ≈
5.46€
Come Fly With Me (for Brass Quintet)
Come Fly With Me (for Brass Quintet)
#
Brass Quintet: 2 trumpets, horn, trombone, tuba
#
INTERMEDIATE
#
Contemporary
#
Frank Sinatra
#
Kenneth Abeling
#
Come Fly With Me
#
LINCOLN MUSIC PUBLICATIONS
#
SheetMusicPlus
By Frank Sinatra. Arranged by Kenneth Abeling. Score, Set of Parts. 19 pages. Published by LINCOLN MUSIC PUBLICATIONS (H0.218595-153125). - Score,Set of Parts -...
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By Frank Sinatra. Arranged by Kenneth Abeling. Score, Set of Parts. 19 pages. Published by LINCOLN MUSIC PUBLICATIONS (H0.218595-153125). - Score,Set of Parts - - LINCOLN MUSIC PUBLICATIONS
?Come FlyWith Me? Words and Music by Sammy Cahn and JamesVan Heusen and arranged here for Brass Quintet. This is an intermediate to advanced intermediatelevel arrangement of a jazz standard. To view and listen to this piece in itsentirety as well as hundreds of other arrangements and transcriptions byKenneth Abeling at the lowest prices available please visit www.lincolnmusicpublications.com. Playing time: 3:06
$14.99 ≈
13.63€
Fly Me To The Moon (In Other Words)
Fly Me To The Moon (In Other Words)
#
Tony Bennett
#
Rita Arendz
#
Fly Me To The Moon
#
Rita Arendz
#
SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.1362700 By Tony Bennett. By Bart Howard. Arranged by Rita Arendz. 20th Century,Contemporary,Jazz,Standards. Brass Band. 53 pages. Rita Arendz #947088. Published by Rita Arendz (A0.1362700). FLY ME TO THE MOON by Bart Howard for Brass BandWritten in 1954 by American Jazz composer Bart Howard, Fly Me To the Moon (In Other Words) has become a standard worldwide. Â Originally sung by Kaye Ballard, it has been performed by other greats such as Frank Sinatra, Tony Bennett, Diana Krall, and Paul Anka, just to name a few.It has even crossed into other genres, such as metal rock with a cover by Mike, the Become the Knight, and played on a Gayageum by Luna Lee.This arrangement is for a British style Brass Band opening in a bel canto ballad style of Tony Bennett, continuing into the Big Band Swing Style of Sinatra, with a little bit of a jazz waltz that Fred Astaire and Ginger Rogers would have loved before returning to the Ballad style for the close.A great crowd-pleaser!Duration ~3:45 Â 53 pages.
$58.99 ≈
53.66€
Summertime Solos & Famous Jazz Songs - Treble Clef Concert Pitch with Piano Accompaniment
Summertime Solos & Famous Jazz Songs - Treble Clef Concert Pitch with Piano Accompaniment
#
Piano Accompaniment
#
INTERMEDIATE
#
Various, Public Domain
#
Adam Hutchins
#
Summertime Solos & Famous Jazz
#
Adam Hutchins Ltd
#
SheetMusicPlus
Large Ensemble Flute,Guitar,Marimba,Multi-Percussion,Recorder,Trombone,Vibraphone,Viola,Violin,Xylophone - Level 3 - Digital Download SKU: A0.942496 Comp...
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Large Ensemble Flute,Guitar,Marimba,Multi-Percussion,Recorder,Trombone,Vibraphone,Viola,Violin,Xylophone - Level 3 - Digital Download SKU: A0.942496 Composed by Various, Public Domain. Arranged by Adam Hutchins. 20th Century,Blues,Jazz,World. Score and parts. 51 pages. Adam Hutchins Ltd #6168601. Published by Adam Hutchins Ltd (A0.942496). Step into the language of these jazz classics with some great solos over the chords and some well known themes. Expand your musical vocabulary and enjoy being able to solo. Why not have a go at developing your own ideas too?Suitable for intermediate to advanced players.Summertime (solo)It Had To Be You (theme & solo)Avalon (theme & solo)When The Saints Go Marching In (theme & solo)Fly Me To The Moon (solo)Blues For Big Al (theme & solo)Billy Bailey Won’t You Please Come Home (theme & solo)Tea For Two (theme & Solo)
$9.99 ≈
9.09€
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...
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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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