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Chan Chan
Not classified 7,843

Piano & keyboards
Piano solo 6,192
Piano, Vocal and Guitar 4,952
Piano, Voice 3,498
Easy Piano 2,286
Organ 399

C Instruments 383
Piano Accompaniment 252
1 Piano, 4 hands 213
Piano Trio: piano, violin, cello 118
Big Note Piano 67
Accordion 64
Piano (band part) 56
Piano Quartet: piano, violin, viola, cello 35
2 Pianos, 4 hands 32
Piano Quintet: piano, 2 violins, viola, cello 28
Piano Quartet: piano, 2 violins, cello 14
Keyboard 11
Harpsichord 5
Organ, Piano (duet) 5
2 Pianos, 8 hands 4
1 Piano, 6 hands 3
Organ, Trumpet (duet) 3
Melody line, Piano 3
2 Accordions 2
Accordion, Voice 1

+ 20 instrumentations

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Guitars
Guitar notes and tablatures 772
Guitar 686
Melody line, (Lyrics) and Chords 403
Bass guitar 278
Ukulele 227

Lyrics and Chords 140
Guitar (band part) 104
2 Guitars (duet) 61
4 Guitars (Quartet) 31
3 Guitars (trio) 20
Mandolin 15
Dulcimer 12
Piano, Guitar (duet) 11
Banjo 7
Guitar Ensemble 7
2 Ukuleles 6
Electric Bass (band part) 4
Band Scores 2
Guitar, Violin, Cello (trio) 2
Lap Steel Guitar 1
Mandolin, Piano (duet) 1
Mandolin, Guitar (duet) 1

+ 17 instrumentations

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Voice
Voice solo 5,982
Choral SATB 1,964
Choral 3-part 817
Choral 2-part 481
Choral TTBB 372

Choral SSAA 298
Choral Unison 176
Vocal duet, Piano 90
Choral 60
Vocal duet 37
Alto voice, Piano 31
Tenor voice 28
Soprano voice 28
Tenor voice, Piano 21
High voice 19
Soprano voice, Piano 11
Choral SSAATTBB 11
Medium voice, Piano 9
Choral SSATB 8
Voice, Guitar 8
Low voice, Piano 7
Mezzo-Soprano voice, Piano 7
Choral SSATTB 6
Children choir 3
Choral SATTB 1
Baritone voice, Piano 1
Soli, Mixted choir and accompaniment 1
Choral SSAB, Piano 1
Choral SATTBB A Cappella 1
Choral, Orchestra 1
Low voice 1

+ 26 instrumentations

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Woodwind
Saxophone 882
Flute and Piano 871
Clarinet 777
Flute 768
Clarinet and Piano 743

Saxophone (band part) 680
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 661
Saxophone Quartet: 4 saxophones 658
Flute, Oboe, Clarinet, Bassoon 616
Oboe, Piano (duet) 584
Alto Saxophone and Piano 521
2 Saxophones (duet) 512
Alto Saxophone 358
Saxophone Quintet: 5 Saxophones 347
Soprano Saxophone and Piano 326
Tenor Saxophone and Piano 283
2 Clarinets (duet) 263
2 Flutes (duet) 258
Clarinet Quartet: 4 clarinets 211
Baritone Saxophone, Piano 176
Oboe (band part) 167
2 Oboes (duet) 153
Flute Quartet: 4 flutes 146
Tenor Saxophone 130
3 Saxophones (trio) 123
Oboe 117
Clarinet (band part) 113
Recorder 107
English horn, Piano 103
Flute, Clarinet (duet) 99
Clarinet Ensemble 97
2 Recorders (duet) 94
3 Clarinets (trio) 93
Flute and Guitar 89
Saxophone ensemble 87
Oboe, Bassoon (duet) 84
Oboe, Clarinet (duet) 80
Descant (Soprano) Recorder 66
Flute ensemble 64
Soprano Saxophone 64
Clarinet Quintet: 5 clarinets 63
Flute (band part) 62
Baritone Saxophone 60
Clarinet, Violin (duet) 58
Saxophone, Clarinet (duet) 54
Flute Trio: 3 flutes 49
Flute Quintet : 5 flutes 49
Clarinet, Bassoon (duet) 45
Flute, Violin 44
Oboe, Clarinet, Bassoon (trio) 41
Flute, Violoncello 41
Flute, Clarinet and Bassoon. 40
Clarinet, Cello (duet) 40
Flute, Oboe, Clarinet (trio) 39
Recorder Quartet 38
Clarinet and Viola 38
Clarinet, Trumpet (duet) 36
Eb Instruments 35
Flute, Viola (duet) 33
Oboe, Cello 33
Recorder Ensemble 33
English Horn 31
2 Flutes, Piano 29
Flute, Oboe (duet) 29
Bass Clarinet, Piano 28
Oboe, Flute 27
Treble (Alto) Recorder 26
5 Recorders 23
Flute, Oboe, Bassoon 22
Flute, Cello, Piano (trio) 22
Tenor Recorder 22
Flute, Clarinet, Horn and Bassoon (Quartet) 21
Flute, Violin, Piano 20
Clarinet, Guitar (duet) 19
Flute, Saxophone (duet) 19
Flute, Bassoon, and Piano 18
Harmonica 17
Oboe and viola (duet) 16
Oboe, Violin (duet) 16
Flute, Trumpet (duet) 14
Saxophone and Guitar 14
Flute, harp and violin 14
Flute, Clarinet, Piano (trio) 13
3 Recorders (trio) 11
Clarinet, Harp (duet) 10
Piccolo, Piano 9
Treble (Alto) Recorder, Piano 8
Clarinet, Cello, Piano (trio) 8
Flute, Viola and Piano 8
Oboe, Guitar (duet) 8
Flute, Harp and Cello 7
Flute, Violin, Violoncello and Piano 7
Descent (Soprano) Recorder, Piano 7
Piccolo 7
Ocarina 7
Recorder, Piano 6
English Horn, Guitar (duet) 6
Flute, Trombone (duet) 5
2 Clarinets, Piano 5
Clarinet, Double bass (duet) 4
Flute, Violin and Violoncello 4
Flute, Tuba (duet) 4
Oboe, Trombone (duet) 4
Oboe, Violin, Piano 4
3 Oboes 4
Bagpipe 3
Clarinet, Tuba 3
Pennywhistle 3
2 Saxophones, Piano 3
Flute, Oboe, Piano (trio) 3
2 Oboes, Piano 2
Flute, Clarinet, Violin (trio) 2
Clarinet Quartet: Clarinet, Violin, Viola, Cello 2
Saxophone and Organ 2
Clarinet, Bassoon, Piano (trio) 2
Flute, Oboe, Violin 2
2 English horns and Pianoforte 2
Wind ensemble 2
Clarinet Quintet: Clarinet, String Quartet 2
Flute and Strings Trio 2
2 Clarinets, Bassoon 2
Oboe, Bassoon and Piano 2
Clarinette, Viola and Piano (trio) 1
2 Oboes, 2 Horns and 2 Bassoons 1
Flute, Viola and harp 1
Bass Clarinet 1
Clarinet, trumpet and piano 1
Clarinet, Trombone (duet) 1
2 Flutes and Harp 1
Flute, Organ (duet) 1
Flute, Cello, Guitar 1
Oboe, Harp 1

+ 127 instrumentations

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Woodbrass
Trumpet 683
Brass Quintet: 2 trumpets, horn, trombone, tuba 658
Trombone 612
Trumpet, Piano 472
Trombone and Piano 419

French Horn and Piano 388
Brass quartet : 2 trumpets, trombone, tuba 345
Trombone (band part) 322
French horn 280
Trumpet (band part) 271
Tuba and Piano 271
Tuba 194
Brass Quartet 188
Brass Quartet: 2 trumpets, horn, trombone 188
2 Trumpets (duet) 177
2 Trombones (duet) 159
English horn, Piano 103
2 French horns (duet) 101
Trumpet, Trombone (duet) 87
French horn (band part) 86
Brass Quartet: 4 trombones 65
Tuba (band part) 63
2 Tubas (duet) 59
Brass Quartet: 4 horns 51
Euphonium, Piano (duet) 49
Bb Instruments 39
Trumpet, Saxophone (duet) 38
English Horn 31
Brass Quartet: 4 trumpets 25
Trumpet ensemble 21
Trombone ensemble 21
Trombone, Tuba (duet) 20
2 Euphoniums and 2 Tubas 20
Horn Ensemble 20
Euphonium 19
Trumpet, Horn (duert) 18
Euphonium, Tuba (duet) 16
Trumpet, Cello (duet) 15
Brass Trio 15
Trumpet, Bassoon (duet) 15
Tuba and Organ 12
3 Trombones (trio) 10
4 Tubas 10
Trombone, Horn (duet) 9
Bass Trombone 9
Bass Clef Instruments 8
Horn, Cello (duet) 6
Trumpet, Tuba (duet) 6
Bass Trombone and Piano 6
English Horn, Guitar (duet) 6
3 French horns (trio) 5
Horn, Tuba (duet) 5
3 Trumpets (trio) 5
Trombone, Organ 5
3 Tubas (trio) 5
Trombone, Violin (duet) 4
French horn and Basson (duet) 4
2 French horns, Piano 3
Brass Quartet: 2 trumpets, 2 trombones 3
Cornet 2
Tuba or Euphonium or Saxhorn 2
2 Trumpets, Keyboard (piano or organ) 2
French Horn and Harp 2
2 English horns and Pianoforte 2
F Instruments 1
3 Euphoniums 1
Horn, Trumpet, Trombone (trio) 1
Trumpet, Euphonium (duet) 1
Trumpet and Guitar 1
2 Euphoniums (duet) 1
Clarinet, Horn (duet) 1
Trumpet, violin (duet) 1
Trombone and Orchestra 1
Trumpet, Harp 1
Brass Quintet: 2 trumpets, horn, 2 trombones 1

+ 70 instrumentations

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Strings
String Quartet: 2 violins, viola, cello 1,476
Harp 1,289
Violin and Piano 1,020
Cello, Piano 824
Viola, Piano 758

Violin 656
Viola 429
Cello 350
Cello (band part) 285
Violin, Cello (duet) 285
String Quintet: 2 violins, viola, cello, bass 276
Double bass, Piano (duet) 272
2 Violins (duet) 254
String Trio: violin, viola, cello 218
2 Cellos (duet) 207
Double Bass 165
2 Violas (duet) 163
Violin, Viola (duet) 156
Violin (band part) 112
2 Harps (duet) 97
Doublebass (band part) 97
Viola (band part) 84
String Trio: 2 violins, cello 77
Viola, Cello (duet) 60
Harp, Violin (duet) 55
2 Double basses (duet) 53
4 Cellos 52
Piano Trio: Violin, Viola, Piano 30
Violin, Bassoon (duet) 27
Harp, Flute (duet) 26
String Trio: 3 violins 25
String Trio: 3 cellos 25
Cello, Guitar (duet) 23
Violin, Guitar (duet) 23
String Quintet: 2 violins, viola, 2 cellos 21
String Quartet : 4 violas 21
Cello, String Bass (duet) 19
String Trio: 3 violas 16
String quartet: 4 violins 15
Viola, Guitar (duet) 14
Viola and Bassoon 13
String Quintet: 2 violins, 2 violas, cello 13
Harp, Cello (duet) 9
String Trio: 2 violins, viola 9
Harp, Voice 8
Harp, Violin, Violoncello 7
Viola and Harp 7
2 Violins, Piano 6
Violin, Clarinet, Piano (trio) 4
Violin, Tuba (duet) 4
2 Cellos, Piano 4
Flute, Doublebass (duet) 4
3 Harps 3
4 Harps 3
Violin ensemble 3
Violin, Organ 3
5 Harps 2
Harp (band part) 2
Autoharp 2
Cello, Organ 2
4 Double Basses 2
Cello Ensemble 2
Viola ensemble 2
Harp, Trombone (duet) 1
Cello, Orchestra 1
Violin, Cello, Clarinet 1
Violin, Basso continuo 1
2 Violas, Piano 1

+ 63 instrumentations

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Percussion & orchestra
Concert band 2,110
String Orchestra 628
Orchestra 444
Jazz Ensemble 416
Handbells 413

Drums 314
Chamber Orchestra 213
Brass ensemble 192
Jazz combo 121
Marching band 89
Drum (band part) 82
Percussion (band part) 69
Percussion Ensemble 62
Marimba 36
Xylophone 27
Percussion 26
Vibraphone 19
Flexible Instrumentation 15
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 14
Xylophone, Piano 13
Timpani (band part) 8
Timpani 6
Woodwind Quintet 6
Voice and Orchestra 4
Piano and Orchestra 2

Snare drums 1
Orchestra, Violin 1
Xylophone (band part) 1
Conga 1
Vibraphone and Marimba 1
Woodwind Quartet: any 4 woodwinds 1

+ 26 instrumentations

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Others
Musical course - Solfege 10
Musical Awakening 1

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Chan Chan

Piano and Orchestra

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Concerto No. 25 C major

Concerto No. 25 C major #Piano and Orchestra #Classical #Wolfgang Amadeus Mozart #Concerto No. 25 C major #Ernst Eulenburg & Co. GmbH - Digital #SheetMusicPlus

Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score...(+)

Piano and orchestra - Digital Download SKU: S9.Q21383 Composed by Wolfgang Amadeus Mozart. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21383. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21383). Key: C major.His concertos justifiably rank among the milestones of solo music accompanied by orchestra. In Viennese Classicism, piano music flourished thanks to innovations in the instrumental technique, and even Mozart fully exploited the advantages of the fortepiano action over the rigid sound of the harpsichord in his works. Piano Concerto No. 25 is Mozartâ€™s longest concerto. The harmonic structure, the continuous change between major and minor, the witty dialoguing between solo and orchestra, the strong contrapuntal saturation, the frequent use of the pedal point as well as the overflowing melodic abundance give the work a character all its own.

$12.99 ≈ 12.16€

Concerto

Concerto #Piano and Orchestra #ADVANCED #Contemporary #Gyorgy Ligeti #Concerto #Schott Music - Digital #SheetMusicPlus

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...(+)

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .

The markings of the movements are the following: .

1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.

The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .

The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .

In the Piano Concerto I realized new concepts of harmony and rhythm. .

The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .

In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .

The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .

In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .

Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .

The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .

Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .

These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .

The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .

The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .

Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .

Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .

This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .

The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .

I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)

$23.99 ≈ 22.45€