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Non classifié 4 796

Piano & claviers
Piano seul 3 166
Piano grosses notes 3 108
Piano, Voix et Guitare 2 292
Orgue 1 641
Piano, Voix 1 294

Piano Facile 1 190
Instruments en Do 316
Accompagnement Piano 139
1 Piano, 4 mains 137
Piano (partie séparée) 91
Clavier 52
Accordéon 37
2 Pianos, 4 mains 24
Piano Trio: piano, violon, violoncelle 22
Piano Quatuor: piano, 2 violons, violoncelle 9
Piano Quatuor: piano, violon, alto, violoncelle 9
Orgue, Piano (duo) 7
Ligne De Mélodie, Piano 7
1 Piano, 6 mains 6
Orgue, Trompette (duo) 5
Piano Quintette: piano, 2 violons, alto, violoncelle 5
Accordéon, Voix 3
2 Pianos, 8 mains 3
Instrument seul et Orgue 2
Clavecin 1
Ensemble d'Accordéons 1

+ 21 instrumentations

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Guitares
Guitare notes et tablatures 1 010
Ligne De Mélodie, (Paroles) et Accords 524
Guitare 268
Paroles et Accords 265
Ukulele 213

Basse electrique 170
Guitare (partie séparée) 116
Banjo 22
Basse électrique (partie séparée) 21
2 Guitares (duo) 20
Dulcimer 16
4 Guitares (Quatuor) 12
Mandoline 11
Ensemble de guitares 9
Piano, Guitare (duo) 9
3 Guitares (trio) 6
2 Dulcimers (duo) 4
Guitare, Violon, Violoncelle (trio) 3
Ukulele Baryton 3
Guitare Pedal Steel 3
2 Ukuleles 1
Ensemble de Ukulélés 1
Partitions De Groupes 1

+ 18 instrumentations

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Voix
Chorale SATB 1 674
Chorale 3 parties 728
Chorale TTBB 456
Chorale 2 parties 428
Chorale SSAA 207

Chorale Unison 193
Chorale 119
Voix duo, Piano 70
Voix seule 54
Voix duo 31
Voix Alto, Piano 13
Voix haute 13
Voix Soprano, Piano 11
Voix basse, Piano 7
Chorale SSAATTBB 6
Voix moyenne, Piano 6
Voix Tenor, Piano 4
Voix basse 4
Chorale SSATB 3
Voix Soprano 3
Chorale SSATTB 3
Male Voice 3
Chorale SAATB A Cappella 2
Voix Baryton, Piano 2
Voix Mezzo-Soprano, Piano 2
Voix Tenor 2
Chorale SSAB a cappella 2
Voix, Guitare 1
Chorale SSATBB 1
Voix Soprano, Orchestre 1
Soli, choeur mixte et accompagnement 1

+ 26 instrumentations

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Vents
Saxophone (partie séparée) 635
Clarinette 326
Flûte traversière 278
2 Saxophones (duo) 252
Flûte traversière et Piano 249

Quatuor de Saxophones: 4 saxophones 237
Clarinette (partie séparée) 188
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 185
Saxophone Alto 183
Quatuor de Clarinettes: 4 clarinettes 164
Hautbois, Piano (duo) 157
Flûte, Hautbois, Clarinette, Basson 155
Clarinette et Piano 151
Saxophone Alto et Piano 149
2 Flûtes traversières (duo) 140
2 Clarinettes (duo) 132
Saxophone 130
Hautbois (partie séparée) 118
Flute (partie séparée) 110
Saxophone Tenor et Piano 100
Saxophone Tenor 86
Quatuor de Flûtes : 4 flûtes 81
Saxophone, Clarinette (duo) 73
Saxophone Soprano et Piano 59
Clarinette, Violon (duo) 57
Flûte, Clarinette (duo) 56
Flûte et Guitare 46
Quintette de Saxophone: 5 saxophones 45
3 Saxophones (trio) 44
Flûte, Violon 44
Ensemble de Flûtes 43
2 Hautbois (duo) 42
Clarinette, Trompette (duo) 38
Trio de Flûtes: 3 flûtes 37
3 Clarinettes (trio) 37
Ensemble de Clarinettes 37
Hautbois, Basson (duo) 35
Saxophone Baryton, Piano 32
Hautbois, Flûte 31
Flûte à Bec 30
Cor anglais, Piano 28
Hautbois 28
Hautbois, Clarinette (duo) 28
Ensemble de saxophones 28
Quintette de Clarinettes: 5 clarinettes 25
Flûte, Saxophone (duo) 25
Flûte, Trompette (duo) 25
Flûte, Alto (duo) 24
Clarinette et Alto 23
2 Flûte à bec (duo) 23
Saxophone Soprano 19
Flûte à bec Soprano 17
Clarinette, Guitare (duo) 15
Clarinette Basse, Piano 14
Instruments en Mib 14
Flûte, Hautbois, Clarinette (trio) 13
Flûte à bec Soprano, Piano 11
Quintette de Flûte : 5 flûtes 10
Clarinette, Basson (duo) 10
Flûte, Clarinette et Basson 8
Flûte à bec Alto, Piano 8
Flûte, Violoncelle 8
Flûte, Hautbois, Basson 7
Cor Anglais 6
Quatuor de Flûtes à bec 6
Flûte, Violoncelle, Piano (trio) 5
Cor anglais, Guitare (duo) 5
Clarinette, Harpe (duo) 5
Flûte à bec Alto 5
2 Flûtes traversières, Piano 5
Clarinette, Violoncelle, Piano (trio) 4
Saxophone et Guitare 4
Flûte irlandaise 4
Flûte, Clarinette, Violon (trio) 4
Flûte, Hautbois (duo) 4
2 Clarinettes, Piano 4
Flûte, Violon, Violoncelle et Piano 4
Flute, harpe et violon 3
Hautbois, Clarinette, Basson (trio d'anches) 3
Hautbois, Harpe 3
3 Flûtes à bec (trio) 3
Hautbois, Violoncelle 3
Flûte, Violon et Violoncelle 3
Saxophone Baryton 3
Flûte, Hautbois, Violon 3
Flûte, Violon, Piano 3
3 Hautbois 3
Harmonica 3
Flûte à bec Tenor 2
Flûte, Basson et Piano 2
Piccolo, Piano 2
Flûte à Bec, Piano 2
Flûte et Trio à cordes 2
Clarinette Basse 2
Clarinette, Violoncelle (duo) 2
2 Saxophones, Piano 2
Flûte, Harpe et Violoncelle 2
Piccolo 2
Flûte traversière, Orgue (duo) 1
Ensemble De Flûte à bec 1
Flûte, Trombone (duo) 1
Flûte, Hautbois, Piano (trio) 1
Hautbois, Violin, Alto et Violoncelle (Quatuor) 1
Flûte, Clarinette, Piano (trio) 1
2 Flûtes, 2 Clarinettes (Quatuor) 1
Clarinette, Trombone (duo) 1
Hautbois, Guitare (duo) 1
Quintette de Clarinette: Clarinette, Quatuor à Cordes 1
Flûte, Tuba (duo) 1
Clarinette, Tuba 1
Flûte, trombone et piano 1
2 Hautbois, Piano 1
Hautbois et alto (duo) 1
2 Clarinettes, Basson 1
Clarinette, trompette et piano 1
Hautbois, violon (duo) 1
Saxophone et Orgue 1
Ocarina 1

+ 113 instrumentations

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Cuivres
Trombone (partie séparée) 432
Trompette (partie séparée) 405
Trompette 282
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 270
Trombone 197

Quatuor de Cuivres : 2 trompettes, trombone, tuba 169
Trompette, Piano 144
Trombone et Piano 142
Cor 134
Cor (partie séparée) 126
Tuba (partie séparée) 94
Cor et Piano 85
Tuba 80
Trompette, Saxophone (duo) 69
2 Trompettes (duo) 69
2 Trombones (duo) 67
Quatuor de cuivres: 4 trombones 45
Tuba et Piano 42
Trompette, Trombone (duo) 39
Quatuor de Cuivres: 2 trompettes, Cor, trombone 34
Euphonium, Piano (duo) 31
2 Cors (duo) 30
Cor anglais, Piano 28
Quatuor de Cuivres 28
Quatuor de cuivres: 4 cors 17
2 Tubas (duo) 16
Bass Clef Instruments 16
Ensemble de Trombones 14
Instruments en Sib 13
Euphonium 13
Trio de Cuivres 12
Trompette, Cor (duo) 9
2 Euphoniums et 2 Tubas 9
4 Tubas 8
Cor Anglais 6
Tuba ou Euphonium ou Saxhorn 6
Cor anglais, Guitare (duo) 5
3 Trompettes (trio) 5
Cor et Harpe 4
Quatuor de cuivres: 4 trompettes 4
Tuba et Orgue 3
Trombone basse 3
Quatuor de cuivres: 2 trompettes, 2 trombones 3
Ensemble de Cors 3
Instruments en Fa 2
3 Trombones (trio) 2
Trombone, Tuba (duo) 2
2 Trompettes, Clavier (piano ou orgue) 2
Ensemble de Trompettes 2
Trombone basse et Piano 2
2 Euphoniums (duo) 2
Clarinette, Cor (duo) 1
Cor, Tuba (duo) 1
Cor et Basson (duo) 1
Cornet et Piano 1
Ensemble de Tubas 1
Trompette, Euphonium (duo) 1
Trombone, Orgue 1
Trompette, Tuba (duo) 1
Trompette, Trombone, Piano 1
Trompette, Basson (duo) 1
Euphonium, Tuba (duo) 1
Trombone, Violon (duo) 1
2 Cors, Piano 1
3 Cors (trio) 1
Cor et Orgue 1
Trompette, Harpe 1

+ 62 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 659
Violon 343
Violon et Piano 287
Harpe 203
Violoncelle, Piano 189

Alto seul 164
Violoncelle (partie séparée) 162
Contrebasse (partie séparée) 139
Alto, Piano 136
Violon, Violoncelle (duo) 123
Violoncelle 119
Violon (partie séparée) 112
2 Violoncelles (duo) 108
2 Violons (duo) 107
Trio à Cordes: violon, alto, violoncelle 90
Violon, Alto (duo) 67
Alto (partie séparée) 63
Contre Basse 59
2 Altos (duo) 48
Contrebasse, Piano (duo) 43
Trio à Cordes: 2 violons, violoncelle 40
Quintette à cordes: 2 violons, alto, violoncelle, basse 33
2 Harpes (duo) 32
Alto, Violoncelle (duo) 20
4 Violoncelles 18
Harpe, Flûte (duo) 13
Violoncelle , Guitare (duo) 13
Trio à Cordes: 3 violoncelles 12
2 Contrebasses (duo) 10
Piano Trio: Violon, Alto, Piano 10
Violon, Guitare (duo) 9
Violoncelle, Contrebasse (duo) 9
Trio à cordes 9
Quatuor à cordes: 4 violons 8
Harpe, Voix 7
Trio à cordes: 3 violins 7
Harpe, Violon (duo) 6
Harpe (partie séparée) 5
Harpe, Violoncelle (duo) 4
Ensemble de Violoncelles 3
Alto, Guitare (duo) 3
Alto et Harpe 3
Autoharp 3
Harpe et Piano 2
Trio à cordes: 3 altos 2
2 Altos, Piano 2
Harpe, Violon, Violoncelle 2
Trio à Cordes: 2 violons, alto 2
Harpe et mandoline 1
Quatuor à cordes : 4 altos 1
2 Violons, Piano 1
3 Harpes 1
Violon, Tuba (duo) 1
Violon, Clarinette, Piano (trio) 1
Violon, Orgue 1
Quintette à cordes: 2 violons, 2 altos, violoncelle 1
Violoncelle, Orgue 1
Flûte, Contrebasse (duo) 1
2 Violoncelles, Piano 1
4 Contrebasses 1
Violon, Basson (duo) 1
Alto et Basson 1

+ 57 instrumentations

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Percussions & orchestre
Orchestre d'harmonie 2 151
Ensemble Jazz 538
Orchestre 422
Orchestre à Cordes 360
Cloches 238

Ensemble de cuivres 233
Fanfare 228
Batterie 220
Batterie (partie séparée) 145
Percussion (partie séparée) 143
Jazz combo 120
Orchestre de chambre 106
Ensemble de Percussions 74
Marimba 24
Percussion 21
Timbales (partie séparée) 14
Timbales 12
Xylophone 9
Vibraphone 7
Ensemble d'École 6
Xylophone, Piano 4
Quintette à Vent 3
Quintette de Cuivres: autres combinaisons 2
Xylophone (partie séparée) 2
Batterie-Fanfare 2
Piano et Orchestre 1

Marimba, Piano (duo) 1
Big band 1
Bodhran 1
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier 1
Caisse Claire 1
2 Marimbas 1
Quatuor à Vent : 4 instruments à vents 1
Orchestre, Violon 1

+ 29 instrumentations

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Concerto

Concerto #Piano et Orchestre #AVANCÉ #Contemporain #Gyorgy Ligeti #Concerto #Schott Music - Digital #SheetMusicPlus

Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...(+)

Piano and orchestra - difficult - 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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