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Vous avez sélectionné:
Simply Complicated
Partitions à imprimer
21 partitions trouvées
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1
Simply Complicated by Jimmy Buffett - Piano/Vocal/Guitar
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Piano, Voix et Guitare
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Jimmy Buffett
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Simply Complicated
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Performed by: Jimmy Buffett: Simply Complicated Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music fi...
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Performed by: Jimmy Buffett: Simply Complicated Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar, instruments: Voice;Guitar;Piano; 4 pages -- Rock~~Pop Rock~~Singer-Songwriter
$5.50 ≈
5.09€
Simply Complicated by Jimmy Buffett - Guitar TAB
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Guitare notes et tablatures
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Jimmy Buffett
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Simply Complicated
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Performed by: Jimmy Buffett: Simply Complicated Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music fi...
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Performed by: Jimmy Buffett: Simply Complicated Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Guitar Tab;Guitar/Vocal, instruments: Voice;Guitar; 3 pages -- Country-Rock~~Pop Rock~~Singer-Songwriter~~Contemporary Country
$5.50 ≈
5.09€
Moon Song - for cello and piano
Moon Song - for cello and piano
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Violoncelle, Piano
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INTERMÉDIAIRE
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Contemporain
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Robert Jeffery
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Moon Song - for cello and pian
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Robert Jeffery Music
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Cello,Piano - Level 3 - SKU: A0.926828 Composed by Robert Jeffery. Contemporary. Score and part. 3 pages. Robert Jeffery Music #3566557. Published by Ro...
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Cello,Piano - Level 3 - SKU: A0.926828 Composed by Robert Jeffery. Contemporary. Score and part. 3 pages. Robert Jeffery Music #3566557. Published by Robert Jeffery Music (A0.926828). Duration: approx 3 mins.Difficulty: IntermediateA short piece for cello and piano, well suited to school level performers who are looking for an evocative, dramatic yet tuneful addition to their repertoire. The Moon Song has also worked very well as accompaniment for one or more contemporary dancers.The piece is written in a flamenco rhythm called siguiriyas. It may look complicated on the page, but is counted more simply in 5 beats, with three short and two long beats: [1] and [2] and [3] and uh [4] and uh [5] and In this case, the 1, 2, and 5 are the short beats and the 3 and 4 are long beats. This pattern repeats regularly throughout the piece, though there are a couple of extra bars interspersed to allow for breathing space at the end of certain phrases.The piece was inspired by the early 20th century Spanish poet Federico Garcia Lorca's poem of the same name, hence the use of the flamenco rhythm. The poem's dark, moody nature fits the cello's character very well.
$8.99 ≈
8.33€
A Nightingale Sang In Berkeley Square
A Nightingale Sang In Berkeley Square
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Chorale Unison
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INTERMÉDIAIRE
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Manhattan Transfer
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Paul W
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A Nightingale Sang In Berkeley
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Allen/Myer Musicals
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Choral Choir (Unison) - Level 3 - SKU: A0.1187976 By Manhattan Transfer. By Eric Maschwitz and Manning Sherwin. Arranged by Paul W. Allen. Blues,Histori...
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Choral Choir (Unison) - Level 3 - SKU: A0.1187976 By Manhattan Transfer. By Eric Maschwitz and Manning Sherwin. Arranged by Paul W. Allen. Blues,Historic,Instructional,Standards. Octavo. 7 pages. Allen/Myer Musicals #787581. Published by Allen/Myer Musicals (A0.1187976). This sultry ballad looks complicated on the page, but at the tempo indicated can be directed successfully with most 3- to 6-octave choirs; simply use the instruments you have at hand and ignore the rest. Â At most times, the chimes double the voice but in other moments they compliment the singer. Â The history of the song and its lyrics are discussed at the conclusion of the arrangement. Â You may purchase one copy of this vocal part for the price listed.
$1.99 ≈
1.84€
Boat
Boat
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Pop musique
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Ed Sheeran
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Barry McCormick
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Boat
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B. McCormick
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1229673 By Ed Sheeran. By Aaron Dessner and Ed Sheeran. Arranged by Barry McCormick. Pop,Singer/Songwriter....
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1229673 By Ed Sheeran. By Aaron Dessner and Ed Sheeran. Arranged by Barry McCormick. Pop,Singer/Songwriter. Score. 4 pages. B. McCormick #825438. Published by B. McCormick (A0.1229673). Elevate your performance with Ed Sheeran's Boat sheet music from his highly anticipated album Subtract. The song Boat is a poignant ballad that speaks to the heart. As Independent.co.uk writes, it's a powerful meditation on depression and hope. With this sheet music, you can bring this emotional power to your performance and really connect with your audience. This sheet music also has everything you need for a successful performance. Whether you're playing with a small group or solo, you'll have all the tools you need to create a beautiful and moving rendition of Boat. And with its digital format, you can practice anytime, anywhere, on any device. So don't miss out on this amazing opportunity to take your performance to the next level. Get Ed Sheeran's Boat sheet music today! Notes about the music This digital sheet music includes the melody on a separate stave, a piano accompaniment, and a short intro, making it perfect for piano instrumentalists, singers, and small groups. To make this piece more accessible I have arranged it in the key of G Major which is a third below the recorded version which is in B Major. This makes the higher notes more attainable to sing for a more people and makes it easier to play for most. Who likes playing with 5 sharps?! Structure In this arrangement there is a slight variation from the structure from the Subtract Recording. As mentioned above a short intro is included which is the melody from the end of the chorus. After this the repeats and D.S markings will follow the form as heard on the recording. On the final chorus rather than playing the bass as written and played for the previous occurrences just playing simple sustained root notes of the chord to bring it all back and give the melody some space for the last time through, this would emulate the feeling in the recording. Melody As with all my arrangements, to try an minimise the number of pages needed, the small note heads in brackets indicate where the melody is different when repeated and these notes should be played/sung on the appropriate verse. The melismatic phrase on boat at the end of bar 37 is a simplification of what is sung on the recording and the performer is free to amend as it suits them. Piano The piano follows a simple chordal harmony and rhythm, the most complicated coming on the final page but this is simply the chord broken up in a way to give more momentum to this section. If you would like a version where the melody is in the right hand of the piano I also have an arrangement of this as a piano reduction which combines the melody with the right hand of the piano part here with some modifications for playability. Alternatives. I have different versions of this piece which may suit different performers/instrumentalists more. All my versions are: Voice Piano and Guitar - Melody on its own stave with guitar chords above it and a piano accompaniment underneath; Voice Piano and Guitar - As above but the melody is combined with the right hand of the piano part; Guitar Lead Sheet - Melody with guitar chords; Ukulele Lead Sheet - Melody with Ukulele chords.
$4.99 ≈
4.62€
Pomp and Circumstance no 2
Pomp and Circumstance no 2
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Classique
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Edward Elgar
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Marina van E Kummer
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Pomp and Circumstance no 2
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Forton Music - Digital
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Cl. Ens - Intermediate - SKU: F2.FM416 Composed by Edward Elgar. Arranged by Marina van E Kummer. Clarinet Ensemble. Score and parts. 78 pages. Forton M...
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Cl. Ens - Intermediate - SKU: F2.FM416 Composed by Edward Elgar. Arranged by Marina van E Kummer. Clarinet Ensemble. Score and parts. 78 pages. Forton Music - Digital #FM416. Published by Forton Music - Digital (F2.FM416). ISBN 9790570483150.The range and complexity makes this arrangment a challenge for a group of varying abilities. The central section (marked Nobilmente) is simpler than the two outer sections, and could be performed separately. The two outer sections are more complicated, requiring nimble fingers and accurate tonguing. I often do arrangements for twelve Bb clarinets simply because I love the term dodecet! And the sonorities are amazing.
$19.95 ≈
18.48€
Arabesque by J. F. Burgmüller - Must-Learn Classical Piano for Beginners
Arabesque by J. F. Burgmüller - Must-Learn Classical Piano for Beginners
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Piano Facile
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FACILE
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Johann Friedrich Franz BurgmÃ
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FUNtastic Music World
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Arabesque by J. F. Burgmü
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FUNtastic Music World
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Piano - Level 2 - SKU: A0.546003 Composed by Johann Friedrich Franz Burgmüller. Arranged by FUNtastic Music World. Classical,Instructional. Educational...
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Piano - Level 2 - SKU: A0.546003 Composed by Johann Friedrich Franz Burgmüller. Arranged by FUNtastic Music World. Classical,Instructional. Educational Method. 6 pages. FUNtastic Music World #156118. Published by FUNtastic Music World (A0.546003). A complete breakdown and analysis of one of the must-learn popular classical piano music - not just to develop techniques, but it is simply fun to play! This bundle of piano sheet music which includes pointers and tips on chord patterns and melodic shape will help you make sense of reading complicated musical notes. Workout exercises with suggested fingerings and style of play will allow beginners to start playing like a pro and mastering this piece in a very short time!
$5.99 ≈
5.55€
A Nightingale Sang in Berkeley Square (Voice)
A Nightingale Sang in Berkeley Square (Voice)
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Cloches
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INTERMÉDIAIRE
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RiverBells Sacramento
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Paul W
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A Nightingale Sang in Berkeley
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Allen/Myer Musicals
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Handbell,Instrumental Solo - Level 3 - SKU: A0.1185269 By RiverBells Sacramento. By Manning Sherwin. Arranged by Paul W. Allen. Blues,Historic,Standards...
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Handbell,Instrumental Solo - Level 3 - SKU: A0.1185269 By RiverBells Sacramento. By Manning Sherwin. Arranged by Paul W. Allen. Blues,Historic,Standards. Individual part. 16 pages. Allen/Myer Musicals #784957. Published by Allen/Myer Musicals (A0.1185269). This sultry ballad looks complicated on the page, but at the tempo indicated can be directed successfully with most 3- to 6-octave choirs; simply use the instruments you have at hand and ignore the rest. Â At most times, the chimes double the voice but in other moments they compliment the singer. Â The history of the song and its lyrics are discussed at the conclusion. Â You may purchase one copy of the full score for the price listed.
$4.99 ≈
4.62€
A Nightingale Sang In Berkeley Square
A Nightingale Sang In Berkeley Square
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Cloches
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INTERMÉDIAIRE
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Manhattan Transfer
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Paul W
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A Nightingale Sang In Berkeley
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Allen/Myer Musicals
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Handbell,Instrumental Solo - Level 3 - SKU: A0.1187979 By Manhattan Transfer. By Eric Maschwitz and Manning Sherwin. Arranged by Paul W. Allen. Blues,Hi...
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Handbell,Instrumental Solo - Level 3 - SKU: A0.1187979 By Manhattan Transfer. By Eric Maschwitz and Manning Sherwin. Arranged by Paul W. Allen. Blues,Historic,Instructional,Standards. Individual part. 12 pages. Allen/Myer Musicals #787592. Published by Allen/Myer Musicals (A0.1187979). This sultry ballad looks complicated on the page, but at the tempo indicated can be directed successfully with most 3- to 6-octave choirs; simply use the instruments you have at hand and ignore the rest. Â At most times, the chimes double the voice but in other moments they compliment the singer. Â The history of the song and its lyrics are discussed at the conclusion of the arrangement. Â You may purchase ten (10) copies of this handbell part for the price listed.
$49.99 ≈
46.31€
"Salento" A Modern Tarantella for Violin Duet and Piano- Intermediate
"Salento" A Modern Tarantella for Violin Duet and Piano- Intermediate
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2 Violons (duo)
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INTERMÉDIAIRE
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Grant Horsley
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"Salento" A Modern T
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Grant Horsley
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Violin Duet Violin - Level 3 - SKU: A0.785780 Composed by Grant Horsley. Multicultural,Standards,Wedding,World. 26 pages. Grant Horsley #6265503. Publis...
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Violin Duet Violin - Level 3 - SKU: A0.785780 Composed by Grant Horsley. Multicultural,Standards,Wedding,World. 26 pages. Grant Horsley #6265503. Published by Grant Horsley (A0.785780). Salento is a Modern Tarantella.Tarantella is a lively dance in 6/8 time featuring quick steps originating in Taranto Italy. The dance was originally a flirtation one where couples danced in a manner to entice courtship, however it is more known as a dance of hysteria for when a victim was bitten by a spider (tarantula), it was believed that dancing furiously with tambourines would cure them.This Tarantella is in ternary form and in A minor and the most complicated note value is a quaver and the highest note is top E. I have kept both instrumental parts fairly equal throughout avoiding a number 1 and number 2Â I have left the bowing to the performer and I have placed it at Intermediate level, but the youtube link has the whole score for you to assess the suitability.It is ideal as a showpiece, useful for concerts, recitals or simply something a little different to play. It is 2 mins 45 in length and the price is for the score and parts.Flute, Trumpet and Clarinet Duets are also availableThe piano accompaniment track is also available separately.
$5.99 ≈
5.55€
"Salento" A Modern Tarantella for Clarinet Duet and Piano- Intermediate
"Salento" A Modern Tarantella for Clarinet Duet and Piano- Intermediate
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2 Clarinettes (duo)
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INTERMÉDIAIRE
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Grant Horsley
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"Salento" A Modern T
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Grant Horsley
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Clarinet Duet - Level 3 - SKU: A0.785781 Composed by Grant Horsley. Contest,Festival,Multicultural,Standards,Wedding,World. 2 scores. 26 pages. Grant Ho...
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Clarinet Duet - Level 3 - SKU: A0.785781 Composed by Grant Horsley. Contest,Festival,Multicultural,Standards,Wedding,World. 2 scores. 26 pages. Grant Horsley #6265755. Published by Grant Horsley (A0.785781). A Piano Accompaniment track as an MP3 is also available.Salento is a Modern Tarantella.Tarantella is a lively dance in 6/8 time featuring quick steps originating in Taranto Italy. The dance was originally a flirtation one where couples danced in a manner to entice courtship, however it is more known as a dance of hysteria for when a victim was bitten by a spider (tarantula), it was believed that dancing furiously with tambourines would cure them.This Tarantella is in ternary form and in concert G minor and the most complicated note value is a quaver and the highest note is top D I have kept both instrumental parts fairly equal throughout avoiding a number 1 and number 2 I have placed it at Intermediate level, but the youtube link has the whole score for you to assess the suitability.It is ideal as a showpiece, useful for concerts, recitals, contests or simply something a little different to play. It is 2 mins 45 in length and the price is for the score and parts.Flute, Trumpet and Violin Duets are also available.
$5.99 ≈
5.55€
Requiem
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward ...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99 ≈
51.87€
Pale Fire
Pale Fire
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Contemporain
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Burton Goldstein
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Pale Fire
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Burton Goldstein Music
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Large Ensemble Cello,Clarinet,Flute,Harp,Multi-Percussion,Oboe,Piano,Viola,Violin - SKU: A0.1035264 Composed by Burton Goldstein. 20th Century,Contempor...
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Large Ensemble Cello,Clarinet,Flute,Harp,Multi-Percussion,Oboe,Piano,Viola,Violin - SKU: A0.1035264 Composed by Burton Goldstein. 20th Century,Contemporary. Score and parts. 48 pages. Burton Goldstein Music #5001049. Published by Burton Goldstein Music (A0.1035264). Pale Fire was one of my first pieces to use groupings of a basic common pulse as the main way to have different instruments play in different tempi simultaneously.The old way of notating simultaneous tempi, and not just for me, was to use elaborate tuplets. In a bar of 4/4 you might find one player reading largely quarter note tuplets (7:4) and another playing quintuplet 16ths, perhaps with the added headache of having clumps of them tied together. Picture this – the tempo is fast and you have nothing but quintuplet 16ths. But sometimes you have, within the bracket, a dotted 8th followed by an 8th tied to a 16th quintuplet. And maybe no one is playing on the beat! And so on.The obvious problem is that it is hard for anyone to relax while playing this, assuming they actually can play it. I have heard confessions from L.A Phil players confessing massive faking, even in the presence of a composer like Ligeti and Carter. And a never-to-be-named world-famous quartet confessed to fudging the truly astounding notational complexities of Ferneyhough.So another way to notate complex simultaneous tempi is for everyone to play 8th notes, say, and each player can accent the first note in his of eighth notes. Of course, each player can have different length groups. See m.15 of Pale Fire for a simple start to this process.Eventually the piece has sections which sound extremely free, but are really some complex rhythm like 11:7:3, but written in a way that avoid complicated tuplets.One can go a bit beyond this without relating problems for the players if one simply has some players playing groups of simple tuplets, like triplets. So Player #1 can play a compound line such that every fourth triplet is emphasized. Player #2 can has a part constructed of constant 16ths, written so that every fourth 16th note creates a pulse, and every third pulse is accented somehow.
$14.99 ≈
13.89€
Simply Complicated
Simply Complicated
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Guitare notes et tablatures
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Rock
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Jimmy Buffett
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Simply Complicated
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Alfred Music - Digital Sheet Music
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By Jimmy Buffett. By Jimmy Buffett (1946-) and Bill Withers. For Authentic Guitar TAB. Pop/Rock. 3 pages. Published by Alfred Music - Digital Sheet Music ...
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By Jimmy Buffett. By Jimmy Buffett (1946-) and Bill Withers. For Authentic Guitar TAB. Pop/Rock. 3 pages. Published by Alfred Music - Digital Sheet Music
$2.99 ≈
2.77€
Jimmy Buffett: Simply Complicated - piano, voice or other instruments
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Piano, Voix
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INTERMÉDIAIRE
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Rock
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Jimmy Buffett
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Instantly printable sheet music by Jimmy Buffett for piano, voice or other instruments of EASY/MEDIUM skill level. / pop,rock
Instantly printable sheet music by Jimmy Buffett for piano, voice or other instruments of EASY/MEDIUM skill level. / pop,rock
$5.97 ≈
5.53€
Jimmy Buffett: Simply Complicated - guitar solo (authentic tablature)
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Rock
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Jimmy Buffett
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Instantly printable sheet music by Jimmy Buffett for guitar solo (authentic tablature) of EASY/MEDIUM skill level. / pop,rock
Instantly printable sheet music by Jimmy Buffett for guitar solo (authentic tablature) of EASY/MEDIUM skill level. / pop,rock
$4.97 ≈
4.60€
Simply Complicated
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Piano, Voix et Guitare
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Rock
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Jimmy Buffett
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Simply Complicated
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Alfred Music - Digital Sheet Music
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By Jimmy Buffett. By Jimmy Buffett (1946-) and Bill Withers. For Piano/Vocal/Chords. Pop/Rock. 4 pages. Published by Alfred Music - Digital Sheet Music ...
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By Jimmy Buffett. By Jimmy Buffett (1946-) and Bill Withers. For Piano/Vocal/Chords. Pop/Rock. 4 pages. Published by Alfred Music - Digital Sheet Music
$3.99 ≈
3.70€
Pulses and Waves
Pulses and Waves
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Jeremy Barnett
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Pulses and Waves
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Jeremy Barnett
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Percussion Quartet Marimba,Vibraphone,Xylophone - Level 2 - SKU: A0.797633 Composed by Jeremy Barnett. 20th Century,Contemporary,Instructional. 3 pages....
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Percussion Quartet Marimba,Vibraphone,Xylophone - Level 2 - SKU: A0.797633 Composed by Jeremy Barnett. 20th Century,Contemporary,Instructional. 3 pages. Jeremy Barnett #6306117. Published by Jeremy Barnett (A0.797633). Relying on minimalist textures and rhythms, and beautiful harmonies, 'Pulses and Waves' is the perfect way for ensembles to make music together - both in person and over the internet. Given the complications of transmitting live audio online, this piece does not require exact synchronisation between players, relying instead on the ability of the musicians to simply hear each other and react at given moments. The piece works on tuned percussion, pianos, guitars or any other suitable instrument combination.
$7.99 ≈
7.40€
"Girl on a Swing" for solo classical fingerstyle guitar
"Girl on a Swing" for solo classical fingerstyle guitar
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Guitare
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FACILE
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New Age
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Keith Gehle
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"Girl on a Swing" for solo cla
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Keith Gehle
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Solo Guitar - Level 2 - SKU: A0.1368030 By Keith Gehle. By Keith W. Gehle. New Age. Individual part. 2 pages. Keith Gehle #952383. Published by Keith Ge...
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Solo Guitar - Level 2 - SKU: A0.1368030 By Keith Gehle. By Keith W. Gehle. New Age. Individual part. 2 pages. Keith Gehle #952383. Published by Keith Gehle (A0.1368030). â??Girl on a Swingâ? was recorded as part of Keithâ??s 2016 album Space and Time. The title of this piece was inspired by the lyrics of the 2005 song â??Simpleâ? by Glen Phillips when he compared his wifeâ??s love to the gentle beauty of a little girl on a playground swing. The lyrics are as follows:I'm complicationLive wire downI'm agitationDistorted soundYou're celebrationGirl on a swingPassion and patienceUnbroken ringYou're simple, simpleYou're simpleSimply all I needWhile the album version features additional instruments, the piece works well as a guitar solo. This PDF includes detailed fingerings in standard notation. Thereâ??s also a version available with TAB on this site.
$1.99 ≈
1.84€
"Girl on a Swing" for solo classical fingerstyle guitar (+TAB)
"Girl on a Swing" for solo classical fingerstyle guitar (+TAB)
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Guitare notes et tablatures
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FACILE
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New Age
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Keith Gehle
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"Girl on a Swing" fo
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Keith Gehle
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Guitar - Level 2 - SKU: A0.1368028 By Keith Gehle. By Keith W. Gehle. New Age. Guitar Tab. 3 pages. Keith Gehle #952381. Published by Keith Gehle (A0.13...
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Guitar - Level 2 - SKU: A0.1368028 By Keith Gehle. By Keith W. Gehle. New Age. Guitar Tab. 3 pages. Keith Gehle #952381. Published by Keith Gehle (A0.1368028). “Girl on a Swing†was recorded as part of Keith’s 2016 album Space and Time. The title of this piece was inspired by the lyrics of the 2005 song “Simple†by Glen Phillips when he compared his wife’s love to the gentle beauty of a little girl on a playground swing. The lyrics are as follows:I'm complicationLive wire downI'm agitationDistorted soundYou're celebrationGirl on a swingPassion and patienceUnbroken ringYou're simple, simpleYou're simpleSimply all I needWhile the recorded version of “Girl on a Swing†features additional instruments, the piece works well as a guitar solo. This PDF includes standard notation with tablature for ease of learning.
$2.99 ≈
2.77€
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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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 ≈
22.22€
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