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Vous avez sélectionné:
3 Scales for 2 violins
Partitions à imprimer
16 partitions trouvées
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1
3 Scales for 2 violins
3 Scales for 2 violins
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2 Violons (duo)
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DÉBUTANT
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Alessandro Rolla
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Zoltan Paulinyi
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3 Scales for 2 violins
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Zoltan Paulinyi
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SheetMusicPlus
Violin Duet Violin - Level 1 - SKU: A0.966232 Composed by Alessandro Rolla. Arranged by Zoltan Paulinyi. Instructional,Romantic Period,Standards. 3 page...
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Violin Duet Violin - Level 1 - SKU: A0.966232 Composed by Alessandro Rolla. Arranged by Zoltan Paulinyi. Instructional,Romantic Period,Standards. 3 pages. Zoltan Paulinyi #4846977. Published by Zoltan Paulinyi (A0.966232). 3 scales in 1 octave for violin duo: A Major, D Major, G Major. Adapted from Rolla, now they are suitable for the student from the very beginning. The teacher or an advanced student may play the second violin (requires shifting).
$1.99 ≈
1.83€
Scherzo in G Major for 2 Violins - Student/Teacher Duet
Scherzo in G Major for 2 Violins - Student/Teacher Duet
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2 Violons (duo)
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INTERMÉDIAIRE
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Claudio Porstmann
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Scherzo in G Major for 2 Violi
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Claudio Porstmann
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SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.835264 Composed by Claudio Porstmann. 20th Century,Classical,Instructional,Standards. 4 pages. Claudio Porstmann ...
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Violin Duet Violin - Level 3 - SKU: A0.835264 Composed by Claudio Porstmann. 20th Century,Classical,Instructional,Standards. 4 pages. Claudio Porstmann #6421929. Published by Claudio Porstmann (A0.835264). A fun piece especially written for a student/teacher combination, but can naturally be performed by 2 violins of the same level. For didactical purposes, the student should play violin 1, which presents some small challenges, scales, larger leaps, arppegios, etc, all of wich in the end serve the melodical development. It is written in the typical classical style of the 18th century and is very appealing due to its happy, fun melodies and playful character. Great for tuition and teaching, the students love this piece.
$11.99 ≈
11.05€
Donut Etudes vol. 3: Don’t Step in the Holes! – String Quartet
Donut Etudes vol. 3: Don’t Step in the Holes! – String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.784347 Composed by Joshua Hauser. Instructional. Score and parts. 110 pages. Slide ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.784347 Composed by Joshua Hauser. Instructional. Score and parts. 110 pages. Slide Ride #5288705. Published by Slide Ride (A0.784347). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$12.50 ≈
11.52€
æ„› (Ai, Japanese for Love), Violin Duet
æ„› (Ai, Japanese for Love), Violin Duet
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2 Violons (duo)
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INTERMÉDIAIRE
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David McKeown
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æ„›
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David McKeown
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SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.590664 Composed by David McKeown. Holiday,Multicultural,Wedding,World. 4 pages. David McKeown #6231093. Published...
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Violin Duet Violin - Level 3 - SKU: A0.590664 Composed by David McKeown. Holiday,Multicultural,Wedding,World. 4 pages. David McKeown #6231093. Published by David McKeown (A0.590664). 愛(Ai, Japanese for Love), is a beautiful original composition by David McKeown, arranged as a duet for two Violins, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by the Enka music of post-war Japan. As reconstruction gathered pace, the popular music of the day combined traditional Japanese scales, rhythms and themes with all sorts of contemporary Western ballad styles. Singers like Misori Hibari and Keiko Fuji became huge cultural icons in Japan and helped lay the foundations for today’s confident and vibrant Japanese music scene. 愛(Ai) aims to capture the spirit of this emotionally charged music. 愛(Ai) is written for players at an intermediate standard and upwards. Expressive throughout, be sure to pay attention to contrasts in dynamics and articulation. 愛(Ai) has a performance time of around two minutes and a half minutes. Click the link above to listen to a full YouTube performance of the Clarinet version.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99 ≈
3.68€
Loeillet: Six Sonatas Op. 5 No. 2 Complete for Violin Duo
Loeillet: Six Sonatas Op. 5 No. 2 Complete for Violin Duo
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2 Violons (duo)
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FACILE
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Jean Baptiste Loeillet of Ghen
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James M
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Loeillet: Six Sonatas Op. 5 No
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jmsgu3
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SheetMusicPlus
Violin Duet Violin - Level 2 - SKU: A0.612852 Composed by Jean Baptiste Loeillet of Ghent (1688 – 1720). Arranged by James M. Guthrie. Baroque,Co...
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Violin Duet Violin - Level 2 - SKU: A0.612852 Composed by Jean Baptiste Loeillet of Ghent (1688 – 1720). Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional,Wedding. 59 pages. Jmsgu3 #222047. Published by jmsgu3 (A0.612852). John Baptist Loeillet, a Flemish Baroque composer, wrote six sonatas for flute and basso continuo in his Op. 5 No. 2. This work is widely considered to be some of his most significant compositions, and they are still performed today.The sonatas are divided into three movements each, with two slow movements and one faster one. The flute part is very demanding, as Loeillet often wrote in the high register, and the accompanying basso continuo part provides a solid foundation for the piece. The music has an emotional intensity that was characteristic of the Baroque era, and it features various ornamentations, like trills and mordents. The influence of Corelli can be heard in the contrapuntal textures, and the melodic lines are often based on the scales and modes of the period.Loeillet's Op. 5 No. 2 is a beautiful and captivating work, and its timelessness is a testament to its quality. It has been transcribed and adapted for other instruments, and it remains a popular choice for many classical musicians.Contents:Sonata No. 1 Duration: 9:45 Score: 8 pages 1. Vivace 2. Affetuoso e Poco Vivace 3. Allegro 4. Largo 5. AllegroSonata No. 2 Duration: 16:00, Score: 12 pages 1. La¬rgo 2. Allegro 3. Largo 4. Vivace 5. Vivace 6. Largo 7. GigaSonata No. 3 Duration: 19:20, Score: 14 pages 1. Vivace 2. Largo 3. Gavotto – Allegro 4. Sarabanda 5. Allegro 6. Largo 7. Menuet 8. Giga - Allegro Sonata No. 4 Duration: 11:08, Score: 10 pages 1. Vivace 2. Gavott 3. Largo 4. Allegro 5. Sarabanda - Largo 6. AllegroSonata No. 5 Duration: 7:49, Score: 7 pages 1. Largo 2. Allegro 3. Largo 4. Gavott Sonata No. 6 Duration: 9:42, Score: 8 pages 1. Andante 2. Adagio 3. Allegro 1 4. Allegro 2.
$74.95 ≈
69.07€
Mermaid Scales
Mermaid Scales
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Contemporain
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Alex Hersom
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Mermaid Scales
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Alex Hersom and Marti Hersom
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.979398 Composed by Alex Hersom. Contemporary. Score and parts. 17 pages. Alex Hersom and Marti Hersom ...
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String Quartet String Quartet - Level 3 - SKU: A0.979398 Composed by Alex Hersom. Contemporary. Score and parts. 17 pages. Alex Hersom and Marti Hersom #2019841. Published by Alex Hersom and Marti Hersom (A0.979398). Transport your audience to the ocean with Mermaid Scales! Great for your intermediate string quartet!
$9.99 ≈
9.21€
G Major Etude for Two
G Major Etude for Two
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2 Violons (duo)
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INTERMÉDIAIRE
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Darian Thompkins
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G Major Etude for Two
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Darian Thompkins
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SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.1221612 Composed by Darian Thompkins. Instructional,Multicultural,Standards,World. 4 pages. Darian Thompkins #817...
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Violin Duet Violin - Level 3 - SKU: A0.1221612 Composed by Darian Thompkins. Instructional,Multicultural,Standards,World. 4 pages. Darian Thompkins #817919. Published by Darian Thompkins (A0.1221612). G major Etude for Two can easily be a regular duet, however, it was written to help improve technique, crossing the strings, and bowing. As you play through this piece you will become more familiar with the G Major scale. Although this piece is for two it can also be used for just individual practice while playing individual lines for proficiency. Lets keep those scales moving!.
$2.99 ≈
2.76€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.11€
Via Dolorosa
Via Dolorosa
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2 Violons (duo)
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FACILE
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Musique Sacrée
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Sandi Patty
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H
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Via Dolorosa
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Heather Bacon-Shone
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SheetMusicPlus
Violin Duet Violin - Level 2 - SKU: A0.1167878 By Sandi Patty. By Billy Sprague and Niles Borop. Arranged by H. Bacon-Shone. Christian,Easter,Religious,...
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Violin Duet Violin - Level 2 - SKU: A0.1167878 By Sandi Patty. By Billy Sprague and Niles Borop. Arranged by H. Bacon-Shone. Christian,Easter,Religious,Sacred. 5 pages. Heather Bacon-Shone #768228. Published by Heather Bacon-Shone (A0.1167878). A new arrangement for two violins of the beautiful Passion tune made famous by Sandi Patty. Both parts are appropriate for intermediate or advanced beginner players. The Violin II part includes a few double-stops and a couple of measures in higher positions on the G string; less advanced players could play the double-stops as single notes and the sul G portion in first position on the D and A strings. The Violin I part can all be played in first position if desired. More advanced players will enjoy adding vibrato, the warmer tones of higher positions, and emphasizing the exploration of different minor scales. The Violin II part could also be played by a violist.With the original lyrics referring to Christ's Passion, this tune is particularly appropriate for Easter; it is also an excellent choice for church or religious school performance at any time of year.Your purchase benefits the Frederic Bacon-Shone Memorial Fund, a 501(c)(3) nonprofit that aims to inspire future generations of students through music education in K-12 public schools. Â Visit us at www.facebook.com/DrBMemorial.Â
$5.99 ≈
5.52€
Axis
Axis
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Robert A
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Axis
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Robert A. Howard
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.998835 Composed by Robert A. Howard. 20th Century,Folk,Standards. 7 pages. Robert A...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.998835 Composed by Robert A. Howard. 20th Century,Folk,Standards. 7 pages. Robert A. Howard #6134575. Published by Robert A. Howard (A0.998835). This work is influenced by the folk-inspired works of Bartok, particularly his use of alternative scales (such as the octatonic), and the textures created in his string quartets. This piece's title refers to its two main 'axes' on C and F sharp (almost as tonic and dominant poles) in the work's employment of the octatonic scale. The piece is highly accessible and is appropriate for most standards of string player, including students and the more advanced. Duration: 2 minute 30 seconds.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk.
$5.99 ≈
5.52€
Can't Help Falling In Love
Can't Help Falling In Love
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2 Violons (duo)
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INTERMÉDIAIRE
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Mariage/Ballade
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Rock
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Elvis Presley
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Everaldo Martinez
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Can't Help Falling In Love
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Everaldo Martinez
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SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.1113564 By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Everaldo Martinez....
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Violin Duet Violin - Level 3 - SKU: A0.1113564 By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Everaldo Martinez. Country,Folk,Pop,Standards,Wedding. 7 pages. Everaldo Martinez #715476. Published by Everaldo Martinez (A0.1113564). Violin Duo arranged in a more sophisticated way than playing just the tune. It has some scales and high register, demanding some practice to have an excellent performance. Perfect for your friend's wedding or romantic dinner party.
$7.99 ≈
7.36€
The Girl with the Flaxen Hair - Score and Parts
The Girl with the Flaxen Hair - Score and Parts
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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Claude Debussy
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Ted Lucas
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The Girl with the Flaxen Hair
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Tuxedo Music Publishing
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.881364 Composed by Claude Debussy. Arranged by Ted Lucas. 20th Century,Contemporary,Romantic Period. 1...
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String Quartet String Quartet - Level 3 - SKU: A0.881364 Composed by Claude Debussy. Arranged by Ted Lucas. 20th Century,Contemporary,Romantic Period. 15 pages. Tuxedo Music Publishing #5022049. Published by Tuxedo Music Publishing (A0.881364). The Girl with the Flaxen Hair is one of Debussy's most popular solo piano compositions. Number 8 in Book I of Debussy's two books of Preludes, the piece is an example of Debussy's experimentation with new scales, especially the pentatonic scale in this instance. The work, in Gb major, is performed almost entirely on the black keys of the piano. This arrangement for string quartet has been transposed to G major to make it easier to play for most string quartets. Take a listen to the MP3. It's only two and a half minutes long.
$9.99 ≈
9.21€
Whole Tone Exploration Number One
Whole Tone Exploration Number One
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Don Hicks
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Whole Tone Exploration Number
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Don Hicks
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - SKU: A0.846554 Composed by Don Hicks. 20th Century,Instructional. Score and par...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - SKU: A0.846554 Composed by Don Hicks. 20th Century,Instructional. Score and parts. 30 pages. Don Hicks #6681727. Published by Don Hicks (A0.846554). Dip your toes into the impressionist world of whole tone scales! Fun for string orchestra, string quartet, solo violin or mandolin, and more! Score, all parts and mp3 play along file included!
$5.99 ≈
5.52€
HUMORESQUE – STRING QUARTET
HUMORESQUE – STRING QUARTET
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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Antonin Dvorak
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BRIAN W
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HUMORESQUE – STRING QUAR
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EMK Music
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.834037 Composed by Antonin Dvorak. Arranged by BRIAN W. COPPING. Romantic Period. S...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.834037 Composed by Antonin Dvorak. Arranged by BRIAN W. COPPING. Romantic Period. Score and parts. 17 pages. EMK Music #6090579. Published by EMK Music (A0.834037). Humoresque', originally written for Piano in G Flat Major, is the seventh of a set of eight similar capricious pieces. While Director of the 'National Conservatory of Music' in New York, Dvorak spent the Summer of 1893 with his family in the Czech speaking community of Spillville, Iowa where he was inspired to write 'Humoresque'. A degree of 'American influence' is evident in 'Humoresque' with the use of Pentatonic Scales, and is one of Dvorak's best known compositions.
$14.00 ≈
12.90€
COMPLETE Mixed Abilities Classroom Ensemble Pack AND Christmas Pack! Mega value bundle of the whole TWO series of music for classrooms and school ensembles
COMPLETE Mixed Abilities Classroom Ensemble Pack AND Christmas Pack! Mega value bundle of the whole TWO series of music for classrooms and school ensembles
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Ensemble d'École
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FACILE
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Enfant
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Welsh trad
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COMPLETE Mixed Abilities Class
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Austin Ralphson
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SheetMusicPlus
Composed by Welsh trad., French Trad, L Mason, F. Gruber, J. Pierpont. Arranged by Austin Ralphson. Blues, Funk Jazz, Classroom, General Instructional...
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Composed by Welsh trad., French Trad, L Mason, F. Gruber, J. Pierpont. Arranged by Austin Ralphson. Blues, Funk Jazz, Classroom, General Instructional, Christmas. Score, Set of Parts. 973 pages. Published by Austin Ralphson
This pack contains over 900 pages of music for mixed ability ensembles. There are 4 original pieces and 5 Christmas pieces, as follows:
The Mixed Abilities School Ensemble Series
Children (and adults) who learn a musical instrument will always progress at different rates.Students also develop some of the many skills involved in instrumental playing faster than other skills.
The Mixed Abilities School Ensemble Series has the flexibility to allow pupils of different standards to play together in one ensemble (up to five parts). It also encourages students to develop improvisation skills by providing soloing opportunities within all parts, with suggested pitches for improvising.
Each piece has five different parts which are split into four ability levels as follows:
A ? Range of about 5 notes, easy rhythms. B ? Range of about 1 octave, basic rhythms. C ? Range of about a 12th, some more difficult rhythms. D ? Range of about 2 octaves, some rhythmic complexity.
This enables the teacher to select parts which are suitable for the standard of individual players in the group. As a general rule, the pieces have been composed as follows:
Part 1 ? melody / countermelody (alternates with Part 2)
Part 2 ? melody / countermelody (alternates with Part 1)
Part 3 ? accompaniment (synchronises with Part 4)
Part 4 ?accompaniment (synchronises with Part 3)
Part 5 ? bass line (independent)
Each part also comes in a wide array of transpositions, clefs and pitches. Hence, almost any combination of instruments can play together in an ensemble of mixed abilities,including:
Flutes, clarinets, saxophones, mixed woodwind, trumpets, mixed brass (including brass band), violins, strings, keyboards/pianos, tuned percussion.
An ensemble using any combination of instruments (as is often found within schools) will work effectively as well.
Example: A quintet might be selected as follows:
1A (violin), 2C(trumpet), 3B (clarinet), 4B (tenor sax), 5D (trombone)
The melody in 1A would be very simple but would contrast nicely when passed to the more difficult 2C. Parts 3B and 4B will have quite a simple accompaniment between them, whilst the bass line on 5D will be more complex and rhythmically interesting. Parts can obviously be doubled up as well beyond five players.
Please note that the teacher of the ensemble should be careful to pick parts which are well-suited to the players? abilities.
This pack includes all four pieces in the series (volumes 1 and 2) as follows:
BANANA BLUES is a 12-bar Blues piece
CRAZY LATIN! has additional parts for Latin percussion commonly found in the classroom
IT'S TIME FOR REGGAE! is a reggae piece
FEEL THE FUNK brings funky, James Brown-esque rhythms into the classroom.
Please listen to the mp3 file, which is an electronic example of a typical classroom setup.
Score and all parts are included here in a variety of pitches, clefs and transpositions. It is the complete package with over 680 pages of music, representing a massive saving on individual purchase prices.
5 Christmas pieces:
Each piece is arranged into 13 different parts which cater for the large majority of musicians within school. These include:
* a variety of difficulties in C, B flat, E flat, higher octave for flutes and alto clef for violas
* easy and standard bass parts in treble and bass clefs, and also in B flat and E flat for saxophones or brass band players
* very easy violin and viola parts on open strings only
* easy and standard piano parts
* ukulele part in tab, chord patterns and chord letters
* guitar part in tab, chord patterns and chord letters
* general chord plan in chord letters
Teachers / band leaders can select the parts which are most appropriate for their students. The music is intended to be repeated a number of times, with different parts coming in and out for each repeat to create variety.
Printing and Copying
The purchaser may print or copy all pages of this resource as required in order to facilitate a performance, but must not distribute to others.
** Also check out my Scales and Arpeggios Pack - excellent methods for learning scales and arpeggios at all levels (copy and paste into new tab) https://tinyurl.com/y8wl3qnq **
$39.99 ≈
36.85€
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3 Scales for 2 violins
