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TAB
Not classified 12,639

Piano & keyboards
Piano, Vocal and Guitar 41,737
Piano solo 40,306
Piano, Voice 12,342
1 Piano, 4 hands 1,664
Easy Piano 1,424

C Instruments 1,129
Organ 966
Big Note Piano 678
Accordion 589
2 Pianos, 4 hands 67
Piano Accompaniment 57
Piano Trio: piano, violin, cello 55
Piano (band part) 23
Piano Quartet: piano, violin, viola, cello 21
Organ, Piano (duet) 15
Piano Quintet: piano, 2 violins, viola, cello 11
Keyboard 8
Harpsichord 6
Organ, Trumpet (duet) 5
Piano Quartet: piano, 2 violins, cello 4
2 Pianos, 8 hands 2
1 Piano, 6 hands 2
Solo instrument and Organ 1

+ 18 instrumentations

- Retract

Guitars
Guitar notes and tablatures 72,739
Melody line, (Lyrics) and Chords 17,664
Lyrics and Chords 12,579
Guitar 10,226
Bass guitar 9,272

Ukulele 7,860
Mandolin 550
Banjo 508
Dulcimer 371
Guitar Ensemble 344
2 Guitars (duet) 307
Baritone Ukulele 172
Ukulele Ensemble 111
4 Guitars (Quartet) 52
Lap Steel Guitar 48
Guitar Tab, Voice, Bass, Drum 40
2 Dulcimers (duet) 36
Electric Bass (band part) 30
Dobro 30
Piano, Guitar (duet) 29
3 Guitars (trio) 16
2 Ukuleles 14
Mandolin, Piano (duet) 12
Mandolin, Guitar (duet) 9
Bouzouki 4
Guitar (band part) 4
Band Scores 3
Plectrum Orchestra 2
Guitar, Violin, Cello (trio) 2
Lute 1
2 Mandolins (duet) 1

+ 26 instrumentations

- Retract

Voice
Choral SATB 9,429
Choral 3-part 5,235
Choral 4,690
Choral 2-part 2,680
Choral TTBB 1,281

Choral SSAA 671
Choral Unison 667
High voice 319
Voice solo 302
Vocal duet, Piano 143
Soprano voice, Piano 140
Low voice, Piano 104
Tenor voice, Piano 63
Mezzo-Soprano voice, Piano 55
Alto voice, Piano 46
Baritone voice, Piano 38
Vocal duet 31
Voice, Guitar 18
Choral SSAATTBB 13
Choral SSATB 13
Medium voice, Piano 8
Tenor voice 7
Soprano voice 4
Low voice 3
Choral SSATTB 2
Choral SSAB, Piano 2
Choral SATTBB, keyboard 2
Choral SATBB 2
Soli, Mixted choir and accompaniment 1
Choral SAATB A Cappella 1

+ 25 instrumentations

- Retract

Woodwind
Flute 3,029
Clarinet 2,830
Alto Saxophone 2,299
Tenor Saxophone 1,959
Flute and Piano 842

2 Saxophones (duet) 824
2 Clarinets (duet) 631
2 Flutes (duet) 620
Saxophone (band part) 582
Clarinet and Piano 560
Recorder 504
Saxophone Quartet: 4 saxophones 474
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 435
Clarinet Quartet: 4 clarinets 381
Flute and Guitar 364
Ocarina 362
Oboe, Piano (duet) 339
Alto Saxophone and Piano 337
Flute, Oboe, Clarinet, Bassoon 286
Saxophone Quintet: 5 Saxophones 282
Eb Instruments 279
Oboe 242
Flute Quartet: 4 flutes 226
Harmonica 218
Saxophone, Clarinet (duet) 215
Tenor Saxophone and Piano 215
Clarinet, Violin (duet) 154
Soprano Saxophone and Piano 144
Flute, Clarinet (duet) 144
Soprano Saxophone 144
2 Oboes (duet) 141
Baritone Saxophone, Piano 137
2 Recorders (duet) 135
Saxophone ensemble 131
Flute, Violin 131
Flute (band part) 130
Saxophone 126
Clarinet, Trumpet (duet) 126
Clarinet (band part) 125
Oboe, Bassoon (duet) 95
Clarinet Ensemble 95
Oboe (band part) 93
Flute, Saxophone (duet) 79
Oboe, Clarinet (duet) 77
3 Saxophones (trio) 76
Clarinet and Viola 75
Flute, Viola (duet) 74
Flute Trio: 3 flutes 71
3 Clarinets (trio) 68
English horn, Piano 67
Bass Clarinet, Piano 62
Oboe, Flute 61
Flute, Trumpet (duet) 61
Bass Clarinet 58
Flute ensemble 43
Recorder, Piano 42
Recorder Quartet 36
Descant (Soprano) Recorder 34
Clarinet Quintet: 5 clarinets 31
Flute Quintet : 5 flutes 30
Flute, Clarinet and Bassoon. 30
Flute, Oboe, Clarinet (trio) 26
Flute, Violoncello 26
Flute, Oboe, Bassoon 20
Treble (Alto) Recorder 16
Clarinet, Guitar (duet) 16
Flute, French horn (duet) 15
English Horn 15
Clarinet, Bassoon (duet) 15
3 Recorders (trio) 13
Saxophone and Guitar 13
Baritone Saxophone 13
Flute, Oboe (duet) 11
Piccolo 11
4 Oboes 10
Tenor Recorder 10
Flute, Violin, Piano 9
2 Flutes, Piano 9
Oboe, Clarinet, Bassoon (trio) 9
Clarinet, Cello (duet) 8
Flute, harp and violin 6
Flute, Cello, Piano (trio) 6
Descent (Soprano) Recorder, Piano 6
Flute, Clarinet, Piano (trio) 6
Flute, Violin and Violoncello 6
Treble (Alto) Recorder, Piano 6
Oboe, Guitar (duet) 5
2 Saxophones, Piano 5
5 Recorders 5
Clarinet, Harp (duet) 5
Oboe, Cello 5
Flute, Bassoon, and Piano 4
Pennywhistle 4
2 English horns and Pianoforte 4
2 Clarinets, Piano 3
Saxophone and Organ 3
Flute and Strings Trio 3
Piccolo, Piano 3
Flute, Oboe, Piano (trio) 3
Flute, Basso continuo 3
Clarinet, Bassoon, Piano (trio) 2
Wind ensemble 2
Recorder Ensemble 2
Clarinet, Organ 2
Clarinet, Orchestra 2
Flute, Organ (duet) 2
Oboe, Violin (duet) 2
3 Oboes 1
Oboe, Bassoon and Piano 1
Oboe ensemble 1
Recorder, Guitar (duet) 1
Treble (Alto) Recorder, Basso continuo 1
Clarinet Quintet: Clarinet, String Quartet 1
3 Recorders, Piano 1
2 Flutes and Guitar 1
2 Flutes and Harp 1
Oboe, Violin, Viola and Violoncello (Quartet) 1
Saxophone and Piano 1
Bagpipe 1
English horn, Harp (duet) 1
Flute, Clarinet, Horn and Bassoon (Quartet) 1
Clarinet, Cello, Piano (trio) 1
Flute, Clarinet, Violin (trio) 1

+ 118 instrumentations

- Retract

Woodbrass
Trumpet 2,389
Trombone 1,860
French horn 1,654
Brass Quintet: 2 trumpets, horn, trombone, tuba 564
2 Trombones (duet) 442

2 Trumpets (duet) 418
Trumpet, Piano 410
Brass quartet : 2 trumpets, trombone, tuba 347
Bass Clef Instruments 312
Trumpet (band part) 307
Trombone and Piano 269
Bb Instruments 265
French Horn and Piano 259
Trombone (band part) 254
Tuba 235
Tuba and Piano 162
Trumpet, Saxophone (duet) 160
French horn (band part) 139
Euphonium, Piano (duet) 111
Trumpet, Trombone (duet) 109
Brass Quartet: 2 trumpets, horn, trombone 96
Brass Quartet 84
Trumpet ensemble 83
2 French horns (duet) 81
English horn, Piano 67
Brass Quartet: 4 trombones 54
Trombone ensemble 50
Brass Quartet: 4 horns 36
Euphonium 35
Brass Quartet: 4 trumpets 32
3 Trumpets (trio) 31
2 Tubas (duet) 25
Tuba (band part) 18
3 Trombones (trio) 16
2 Euphoniums (duet) 16
English Horn 15
Clarinet, Horn (duet) 12
Trumpet and Guitar 12
Euphonium, Tuba (duet) 12
4 Tubas 12
Horn Ensemble 11
2 Euphoniums and 2 Tubas 9
3 French horns (trio) 9
Trumpet, Horn (duert) 9
Trombone, Horn (duet) 7
Brass Trio 7
Bass Trombone and Piano 5
3 Tubas (trio) 5
Bass Trombone 4
Brass Quartet: 2 trumpets, 2 trombones 4
Horn, Tuba (duet) 4
2 English horns and Pianoforte 4
Trombone, Tuba (duet) 4
French Horn and Harp 2
Trumpet, Tuba (duet) 2
2 Trumpets, Keyboard (piano or organ) 2
Trumpet, Harp 2
Trumpet, violin (duet) 2
3 Euphoniums 1
Brass Quintet: 2 trumpets, horn, 2 trombones 1
Tuba ensemble 1
Trumpet, Bassoon (duet) 1
French horn and Basson (duet) 1
Horn, Cello (duet) 1
Trumpet, Euphonium (duet) 1
English horn, Harp (duet) 1
Trombone and Orchestra 1

+ 62 instrumentations

- Retract

Strings
Violin 2,868
Cello 1,877
Viola 1,868
Violin and Piano 1,293
String Quartet: 2 violins, viola, cello 1,252

Cello, Piano 872
2 Violins (duet) 788
Harp 550
2 Cellos (duet) 549
Viola, Piano 450
Cello (band part) 374
Violin (band part) 365
Violin, Cello (duet) 258
2 Violas (duet) 171
Viola (band part) 163
Violin, Viola (duet) 151
Doublebass (band part) 136
Double bass, Piano (duet) 123
String Trio: violin, viola, cello 104
String Quintet: 2 violins, viola, cello, bass 95
Double Bass 89
2 Harps (duet) 84
Violin, Guitar (duet) 79
Cello, Guitar (duet) 60
4 Cellos 59
String trio 44
String Trio: 2 violins, cello 41
Viola, Guitar (duet) 32
Violin ensemble 27
Harp, Violin (duet) 26
Viola ensemble 25
Harp, Voice 23
Viola, Cello (duet) 21
2 Double basses (duet) 20
String Trio: 3 cellos 18
Piano Trio: Violin, Viola, Piano 18
String Trio: 3 violins 17
String quartet: 4 violins 16
Harp, Flute (duet) 14
String Trio: 2 violins, viola 10
Harp and mandolin 9
String Quintet: 2 violins, 2 violas, cello 9
Cello, String Bass (duet) 8
String Trio: 3 violas 7
String Quartet : 4 violas 7
4 Double Basses 6
Viola and Bassoon 6
Violin, Organ 4
3 Harps 4
Cello, Organ 4
Violin, Clarinet, Piano (trio) 4
Violin, Basso continuo 4
2 Violins, Piano 4
Harp, Cello (duet) 4
Autoharp 3
Violoncello, Basso continuo 3
Viola, Organ 2
Viola and Harp 2
String Quintet: 2 violins, viola, 2 cellos 2
Violin, Bassoon (duet) 2
5 Harps 2
Harp, Trombone (duet) 1
2 Violins and Basso 1
4 Harps 1
Cello, Orchestra 1
Harp (band part) 1
2 Violas, Piano 1
Violin, Clarinet and Guitar 1
Harp and Piano 1
Harp, Violin, Violoncello 1
Violin, Cello, Clarinet 1
3 double basses 1
Cello Ensemble 1

+ 68 instrumentations

- Retract

Percussion & orchestra
Concert band 11,104
Orchestra 6,028
String Orchestra 4,372
Jazz Ensemble 3,727
Marching band 1,677

Drums 993
Percussion 671
Handbells 654
Chamber Orchestra 433
Brass ensemble 260
Percussion (band part) 217
Xylophone 147
Jazz combo 121
Marimba 87
Drum (band part) 61
Vibraphone 52
Percussion Ensemble 50
Snare drums 48
Timpani (band part) 29
Xylophone, Piano 16
Flexible Instrumentation 9
School Ensemble 8
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 4
Woodwind Quintet 4
Vibraphone (band part) 2
Orchestra, Violin 1
Vibraphone and Marimba 1
Piano and Orchestra 1

Brass Quintet: other combinaisons 1

+ 24 instrumentations

- Retract

Others
Musical course - Solfege 8
Stationery 4

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Piano and Orchestra

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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)

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