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Great I Am Clarinet 1
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Vous avez sélectionné:
Great I Am Clarinet 1
Partitions à imprimer
16 partitions trouvées
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1
Just As I Am (Clarinet Duet)
Just As I Am (Clarinet Duet)
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2 Clarinettes (duo)
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FACILE
#
Musique Sacrée
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William B
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B
#
Just As I Am
#
Ben Dockery
#
SheetMusicPlus
Clarinet Duet Clarinet - Level 2 - SKU: A0.1348762 Composed by William B. Bradbury. Arranged by B. C. Dockery. Christian,Religious,Sacred. 2 scores. 1 p...
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Clarinet Duet Clarinet - Level 2 - SKU: A0.1348762 Composed by William B. Bradbury. Arranged by B. C. Dockery. Christian,Religious,Sacred. 2 scores. 1 pages. Ben Dockery #933533. Published by Ben Dockery (A0.1348762). Arranged for two Bb clarinets. Great for preludes, offertories, postludes, and recitals. Easy intermediate level.
$3.99 ≈
3.56€
Great I Am - Clarinet 1 & 2
Great I Am - Clarinet 1 & 2
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Clarinette (partie séparée)
#
Jared Anderson
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Cliff Duren
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Great I Am - Clarinet 1 &
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.195548 Composed by Jared Anderson. Arranged by Cliff Duren. Concert,Contemporary,Sacred. Choral Instrumental Pak. 2 pages. Duration 220. Hal Leo...
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SKU: HX.195548 Composed by Jared Anderson. Arranged by Cliff Duren. Concert,Contemporary,Sacred. Choral Instrumental Pak. 2 pages. Duration 220. Hal Leonard - Digital #216208. Published by Hal Leonard - Digital (HX.195548).
$7.00 ≈
6.25€
Just As I Am (Clarinet Solo)
Just As I Am (Clarinet Solo)
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Clarinette
#
FACILE
#
Musique Sacrée
#
William B
#
B
#
Just As I Am
#
Ben Dockery
#
SheetMusicPlus
B-Flat Clarinet Solo - Level 2 - SKU: A0.1348767 Composed by William B. Bradbury. Arranged by B. C. Dockery. Christian,Religious,Sacred. Individual part...
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B-Flat Clarinet Solo - Level 2 - SKU: A0.1348767 Composed by William B. Bradbury. Arranged by B. C. Dockery. Christian,Religious,Sacred. Individual part. 1 pages. Ben Dockery #933539. Published by Ben Dockery (A0.1348767). Arranged for solo Bb clarinet. Great for preludes, offertories, postludes, and recitals. Easy intermediate level.
$2.99 ≈
2.67€
I Am Your Child
I Am Your Child
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Quatuor de Clarinettes: 4 clarinettes
#
INTERMÉDIAIRE
#
Barry Manilow
#
Cindy Blevins
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I Am Your Child
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Cindy Blevins
#
SheetMusicPlus
Clarinet Quartet,Woodwind Ensemble Clarinet - Level 3 - SKU: A0.544996 By Barry Manilow. By Barry Manilow. Arranged by Cindy Blevins. Contemporary,Rock....
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Clarinet Quartet,Woodwind Ensemble Clarinet - Level 3 - SKU: A0.544996 By Barry Manilow. By Barry Manilow. Arranged by Cindy Blevins. Contemporary,Rock. 13 pages. Cindy Blevins #4356171. Published by Cindy Blevins (A0.544996). One of Barry Manilow's all-time greatest hits.This is a beautiful, playable arrangement for four clarinets. You receive the score, the Clarinet 1, Clarinet 2, the Clarinet 3 and Clarinet 4 parts.
$12.99 ≈
11.60€
Messiah: The Great "I Am" (Easter through Ascension) (SATB Version)
Messiah: The Great "I Am" (Easter through Ascension) (SATB Version)
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Piano, Voix
#
FACILE
#
Musique Sacrée
#
Musique Sacrée
#
Stephen DeCesare
#
Messiah: The Great "I Am&
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Exultet Music
#
SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.1143280 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Praise & Worship,Sacred. Score. 15...
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Piano,Vocal,Voice - Level 2 - SKU: A0.1143280 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Praise & Worship,Sacred. Score. 155 pages. Exultet Music #743643. Published by Exultet Music (A0.1143280). This musical cantata/oratorio: Messiah: The Great I AM is the fourth installment of a 5 part series that is sung scriptural text, hymns and songs - all sung in a contemporary, sacred style. Scored for Flute, Trumpet, Timpani, Violin, Bass Guitar, Bb-Clarinet, Soloists (Soprano and Tenor), Narrator, Two readers, an extra soloist who plays Jesus, SATB with Piano/Organ accompaniment. Accessible and appropriate for any church or concert setting. Running time: approx. 45 minutes / 1 hour.  (12 songs in each section).
$75.00 ≈
67.00€
Messiah: The Great "I Am" (Easter through Ascension) (SAB Version)
Messiah: The Great "I Am" (Easter through Ascension) (SAB Version)
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Piano, Voix
#
FACILE
#
Musique Sacrée
#
Musique Sacrée
#
Stephen DeCesare
#
Messiah: The Great "I Am&
#
Exultet Music
#
SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.1143281 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Praise & Worship,Sacred. Score. 14...
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Piano,Vocal,Voice - Level 2 - SKU: A0.1143281 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Praise & Worship,Sacred. Score. 140 pages. Exultet Music #743644. Published by Exultet Music (A0.1143281). This musical cantata/oratorio: Messiah: The Great I AM is the fourth installment of a 5 part series that is sung scriptural text, hymns and songs - all sung in a contemporary, sacred style. Scored for Flute, Trumpet, Timpani, Violin, Bass Guitar, Bb-Clarinet, Soloists (Soprano and Tenor), Narrator, Two readers, an extra soloist who plays Jesus, SAB with Piano/Organ accompaniment. Accessible and appropriate for any church or concert setting. Running time: approx. 45 minutes / 1 hour.  (12 songs in each section).
$75.00 ≈
67.00€
Just As I Am (Flute and Clarinet Duet)
Just As I Am (Flute and Clarinet Duet)
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Flûte, Clarinette (duo)
#
FACILE
#
Musique Sacrée
#
William B
#
B
#
Just As I Am
#
Ben Dockery
#
SheetMusicPlus
B-Flat Clarinet,Flute,Instrumental Duet - Level 2 - SKU: A0.1348754 Composed by William B. Bradbury. Arranged by B. C. Dockery. Christian,Religious,Sacr...
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B-Flat Clarinet,Flute,Instrumental Duet - Level 2 - SKU: A0.1348754 Composed by William B. Bradbury. Arranged by B. C. Dockery. Christian,Religious,Sacred. 1 pages. Ben Dockery #933525. Published by Ben Dockery (A0.1348754). Arranged for flute and Bb clarinet duet. Great for preludes, offertories, postludes, and recitals. Easy intermediate level.
$3.99 ≈
3.56€
Dido's Lament (Clarinet Solo)
Dido's Lament (Clarinet Solo)
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Clarinette
#
INTERMÉDIAIRE
#
Henry Purcell
#
B
#
Dido's Lament
#
Ben Dockery
#
SheetMusicPlus
B-Flat Clarinet Solo - Level 3 - SKU: A0.1278873 Composed by Henry Purcell. Arranged by B. C. Dockery. Baroque,Classical,Opera. Individual part. 1 pages...
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B-Flat Clarinet Solo - Level 3 - SKU: A0.1278873 Composed by Henry Purcell. Arranged by B. C. Dockery. Baroque,Classical,Opera. Individual part. 1 pages. Ben Dockery #870419. Published by Ben Dockery (A0.1278873). From Henry Purcell's opera Dido and Aeneas, this is When I am laid in earth arranged for solo B-flat clarinet. Great for lessons, recitals, and performances of all kinds. Intermediate level.
$2.99 ≈
2.67€
Am I Wrong: 1st B-flat Clarinet
Am I Wrong: 1st B-flat Clarinet
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Clarinette (partie séparée)
#
Nico and Vinz
#
Pop
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Am I Wrong: 1st B-flat Clarine
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Marching Band - SKU: AX.00-PC-0016977_C1 1st B-flat Clarinet. By Nico and Vinz. By Abdoulie Jallow, Nicolay Sereba, Vincent Dery, and William Lar...
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Marching Band - SKU: AX.00-PC-0016977_C1 1st B-flat Clarinet. By Nico and Vinz. By Abdoulie Jallow, Nicolay Sereba, Vincent Dery, and William Larsen. Afrobeat Pop; Pop. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016977_C1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016977_C1). UPC: 038081495958.From veteran writer Brian Scott comes this solid arrangement of the hit from pop duo Nico and Vinz. The chart has a great Afrobeat groove and would be perfect for field or stands use. (2:10).
$3.00 ≈
2.68€
IN OUR MIDST WORSHIP SUITE (For Voice, Bb Clarinet and Piano with Parts)
IN OUR MIDST WORSHIP SUITE (For Voice, Bb Clarinet and Piano with Parts)
#
Musique Sacrée
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Gary Lanier
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Gary Lanier
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IN OUR MIDST WORSHIP SUITE
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The Lanier Company
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SheetMusicPlus
Small Ensemble Clarinet,Piano,Voice - Level 2 - SKU: A0.617421 Composed by Gary Lanier. Arranged by Gary Lanier. Christian,Gospel,Praise & Worship,Sacre...
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Small Ensemble Clarinet,Piano,Voice - Level 2 - SKU: A0.617421 Composed by Gary Lanier. Arranged by Gary Lanier. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 28 pages. The Lanier Company #4993447. Published by The Lanier Company (A0.617421). IN OUR MIDST WORSHIP SUITE is a set of three worship songs composed and arranged by Gary Lanier for Voice, Bb Clarinet and Piano. The song titles are 1) In Our Midst, 2) Because You Love Me, and 3) Here I Am. This worship suite works great for congregational worship, special music, or for the joy of singing and playing in any situation where worship music is desired (28 pages with cover).
$11.98 ≈
10.70€
Chapter Two
Chapter Two
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1 Piano, 4 mains
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INTERMÉDIAIRE
#
Siobhan Dyson
#
Chapter Two
#
Siobhan Dyson
#
SheetMusicPlus
1 Piano,4 Hands,Cello,Clarinet,Flute,Vibraphone,Violin - Level 3 - SKU: A0.1103677 Composed by Siobhan Dyson. 20th Century,Chamber,Classical,Film/TV. 50...
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1 Piano,4 Hands,Cello,Clarinet,Flute,Vibraphone,Violin - Level 3 - SKU: A0.1103677 Composed by Siobhan Dyson. 20th Century,Chamber,Classical,Film/TV. 50 pages. Siobhan Dyson #706947. Published by Siobhan Dyson (A0.1103677). Chapter Two This small ensemble piece was written to showcase Siobhan’s second chapter in her life. After six years of higher education study, Siobhan is now ready to move onto the next chapter of her life by writing music for a variety of studios and companies. Siobhan is confident in her pursuit of becoming a well-known composer who is known for writing music for a variety of media. She is already undertaking this task by writing for a documentary and a potential game. Siobhan feels ready to leave and cannot wait to see what this next chapter brings her. She wrote this piece as a farewell to her lecturer of her entire RCS career, Dr Oliver Searle who she has admired and adored throughout her studies. Note from the composer: Dear Oliver, Surprise, I wrote this to say thanks to you, embarrassing I know :/ So as my last final effort to embarrass both of us I wrote this into my programme note. (Kind of cringey and, as I am writing this, I’m getting totes emosh) Thank you for being the best lecturer I could have ever asked for, thank you for being a great person who is caring, kind and someone who truly listens and teaches well. I hope to make you proud in my pursuits! I will always look back on the times of terrible dad jokes (not me), trying to break my stubbornness and all the funny times we had (mostly me :P). I will cherish all you have taught me (except the key signature thing, still not changing my mind on that). You have watched me grow into this weird, funny, and slightly embarrassing person. I don’t think I would be where I am today without you and, from my dark, dark evil heart, thank you for pushing me to being the person I am today. (So, if it all goes wrong, I blame you :P) K, Thanks. Signed: Your favourite.
$48.00 ≈
42.88€
Nothing Compares (Anthem) - Orchestration
Nothing Compares (Anthem) - Orchestration
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Musique Sacrée
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Gospel Spirituel
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Christopher R
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Nothing Compares
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Christopher Brown
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SheetMusicPlus
Large Ensemble Choir - Level 3 - SKU: A0.747194 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 92 pages. C...
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Large Ensemble Choir - Level 3 - SKU: A0.747194 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 92 pages. Christopher Brown #4601913. Published by Christopher Brown (A0.747194). About the song: This anthem begins by compelling the listener and the performer to consider the parable of the hidden treasure and the pearl. The second verse reflects on David's superlative description of God's Word in Ps. 19. In his letter to the Philippians, Paul speaks of the surpassing worth of knowing Christ when compared to everything else in this life. The lyrics of this song are intended to echo these Truths, encourage the believer, and testify to the incomparable gift of entering into the Kingdom of God, understanding His Word, and being strengthened and set free to do the good works that He prepared in advance for us to do.Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.Included in your Purchase:Full ScoreChoral Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1Like a treasure in a field,Is the matchless worth of Christ.For the kingdom of heaven, I give my life.Like a pearl of great value,Perfect and pure.I leave it all behind ‘cause of this I’m sure.Chorus 1He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Verse 2More precious than gold,Is the Word of the Lord.Greater and higher than anything this world affords,It is sweeter than honey,Straight from the comb.My delight is in Jesus, I no longer walk alone.Chorus 2He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my crossAnd I count it all as lossNothing compares to what I have in the Lord.Bridge (x2)In the Lord I find strength for every day, In the Lord every fear is washed away.In the Lord hope and peace are here to stay,Whatever comes my way, I will lift my voice and say.Key ChangeChorus 3He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Nothing compares to what I have in the Lord.Nothing compares to what i have in the Lord.
$49.99 ≈
44.66€
Morning Sunrise (Score and Parts)
Morning Sunrise (Score and Parts)
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Nick Mazuk
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Morning Sunrise
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Mazuk Music
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.933994 Composed by Nick Mazuk. Concert,Contemporary. Score and parts. 33 pages. Mazuk Music #3236657. Published by Mazu...
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Concert Band - Level 3 - SKU: A0.933994 Composed by Nick Mazuk. Concert,Contemporary. Score and parts. 33 pages. Mazuk Music #3236657. Published by Mazuk Music (A0.933994). As a composer, musical ideas pop into my head every day. Most of them are completely unrelated to any piece I am currently working on, and I manage to write some of them down for future reference. The theme to Morning Sunrise is one of those ideas. When I wrote it down, I had no idea that I was ever going to create a piece from it, so I just wrote it down for strings.Several months later, however, I had decided that I wanted to write a piece to thank those who have made my high school music life great. I spent weeks developing 4 or 5 themes and even had half of a piece done at one point, but none of theme worked. I then remembered this one from and realized that it was the perfect theme.The result of taking so long to complete this piece is that it is a very powerful piece where there are no extraneous notes, and no missing ones either. It is one where every detail matters.Includes:ScorePiccoloFluteOboeBassoon 1-2Clarinet in Bb 1-3Bass ClarinetAlto SaxophoneTenor SaxophoneBaritone SaxophoneTrumpet in Bb 1-3Horn in F 1-4Trombone 1-3EuphoniumTubaDouble BassTimpaniDuration: 4 MinutesFor more information about the piece, visit https://nickmazuk.com/Works/MorningSunrise Contact: https://nickmazuk.com/Contact/
$99.99 ≈
89.32€
Three Laments of Heloise for Chamber Orchestra
Three Laments of Heloise for Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #572...
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Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00 ≈
89.33€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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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)
$23.99 ≈
21.43€
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Great I Am Clarinet 1 
