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Music from Frozen Viola
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101
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)
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Let It Go (from Frozen)
Let It Go (from Frozen)
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Alto, Piano
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INTERMÉDIAIRE
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Comédie Musicale
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Idina Menzel
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Fishel Pustilnik
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Let It Go
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F & N Enterprise
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.632573 By Idina Menzel. By Kristen Anderson-Lopez and Robert Lopez. Arranged by Fishel Pustilnik. Musical/Show. Score an...
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Piano,Viola - Level 3 - SKU: A0.632573 By Idina Menzel. By Kristen Anderson-Lopez and Robert Lopez. Arranged by Fishel Pustilnik. Musical/Show. Score and part. 10 pages. F & N Enterprise #3056889. Published by F & N Enterprise (A0.632573). An excellent arrangement of famous Song Let It Go for Viola and Piano (Jazz/Pop Version). The composition is easy to read, fun to play and sound professional when performed. Arranged by Fishel Pustilnik, very well known as Composer/Publisher. His books Jazz & Pop Piano Paradise (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia and UK markets. This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8. Lore Ruschiensky, Editor, (from review in The Canadian Music Teacher) Yesterday I spent at least two pleasure filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations. Review from Dr. Jack Behrens, B.Sc. (Julliard), PH.D (Harvard), Director of Academic Studies, The Glenn Gould School I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume. Mark Carlstein, Hal Leonard, Keyboard Publications.
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Let It Go (from Frozen)
Let It Go (from Frozen)
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Alto seul
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DÉBUTANT
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Comédie Musicale
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Idina Menzel
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David Burndrett
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Let It Go
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David Burndrett
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SheetMusicPlus
Viola Solo - Level 1 - SKU: A0.558382 By Idina Menzel. By Kristen Anderson-Lopez and Robert Lopez. Arranged by David Burndrett. Musical/Show. Individual...
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Viola Solo - Level 1 - SKU: A0.558382 By Idina Menzel. By Kristen Anderson-Lopez and Robert Lopez. Arranged by David Burndrett. Musical/Show. Individual part. 4 pages. David Burndrett #2063803. Published by David Burndrett (A0.558382). Download includes the score and both of the parts.
$4.99 ≈
4.67€
Let It Go (from FROZEN) (for String Quintet)
Let It Go (from FROZEN) (for String Quintet)
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Piano Quintette: piano, violon, alto, violoncelle, contre basse
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Idina Menzel
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Stephen DeCesare
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Let It Go
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Exultet Music
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SheetMusicPlus
By Idina Menzel. Arranged by Stephen DeCesare. Broadway, Movies, Children's Music, Children's Musicals, Fairy Tales. Score. 32 pages. Published by Exultet Music...
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By Idina Menzel. Arranged by Stephen DeCesare. Broadway, Movies, Children's Music, Children's Musicals, Fairy Tales. Score. 32 pages. Published by Exultet Music (H0.79521-256109). - Score - Broadway,Movies,Children's Music,Children's Musicals,Fairy Tales - Exultet Music
$12.99 ≈
12.16€
Let It Go (from Frozen)
Let It Go (from Frozen)
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Comédie Musicale
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Idina Menzel
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Lena Seeger
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Let It Go
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Lena A Seeger
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SheetMusicPlus
By Idina Menzel. By Robert Lopez and Kristen Anderson- Lopez. Arranged by Lena Seeger. Musical/Show. Score and parts. 17 pages. Lena A Seeger #2964117....
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By Idina Menzel. By Robert Lopez and Kristen Anderson- Lopez. Arranged by Lena Seeger. Musical/Show. Score and parts. 17 pages. Lena A Seeger #2964117. Published by Lena A Seeger
$12.99 ≈
12.16€
Frozen Heart
Frozen Heart
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Film Walt Disney
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Kristen Anderson-Lopez and Rob
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Jeremy Crosmer
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Frozen Heart
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Jeremy Crosmer
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - SKU: A0.839113 Composed by Kristen Anderson-Lopez and Robert Lopez. Arranged by...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - SKU: A0.839113 Composed by Kristen Anderson-Lopez and Robert Lopez. Arranged by Jeremy Crosmer. Contemporary. Score and parts. 13 pages. Jeremy Crosmer #6525789. Published by Jeremy Crosmer (A0.839113). Instrumental version of Frozen Heart (the Ice Miners' opening song) for String Quartet, with an optional Double Bass part (String Quintet). From Disney's Frozen, released in 2013.Jeremy Crosmer's arrangements are perfect for weddings, receptions, encores, and more. Each part has its own unique flair: cellists are never bored. Check out more pop arrangements here, including the entirety of the Frozen and Frozen 2 soundtracks: https://www.sheetmusicplus.com/publishers/jeremy-crosmer-sheet-music/3016857Visit Crosmer's website at jeremycrosmer.com for more works, including free arrangements of music by Classical Black Composers (jeremycrosmer.com/black-composers).
$12.99 ≈
12.16€
The Next Right Thing - Viola from Frozen 2 - Instrumental Solo
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Alto seul
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Film/TV
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Film Walt Disney
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The Next Right Thing - Viola f
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Musicnotes
Performed by: Kristen Bell: The Next Right Thing - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interac...
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Performed by: Kristen Bell: The Next Right Thing - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Solo;Instrumental Part, instruments: Viola; 2 pages -- Movie/TV~~Soundtrack~~Musical
$2.99 ≈
2.80€
Lost in the Woods - Viola from Frozen 2 - Instrumental Solo
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Alto seul
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Film/TV
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Film Walt Disney
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Lost in the Woods - Viola from
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Musicnotes
Performed by: Jonathan Groff: Lost in the Woods - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interact...
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Performed by: Jonathan Groff: Lost in the Woods - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Part;Instrumental Solo, instruments: Viola; 2 pages -- Movie/TV~~Soundtrack~~Musical
$3.99 ≈
3.73€
All Is Found - Viola from Frozen 2 - Instrumental Solo
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Alto seul
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Film/TV
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Film Walt Disney
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All Is Found - Viola from Froz
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Musicnotes
Performed by: Evan Rachel Wood: All Is Found - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive...
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Performed by: Evan Rachel Wood: All Is Found - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Solo;Instrumental Part, instruments: Viola; 1 pages -- Movie/TV~~Soundtrack~~Musical
$2.99 ≈
2.80€
Show Yourself - Viola from Frozen 2 - Instrumental Solo
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Alto seul
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Film/TV
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Film Walt Disney
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Show Yourself - Viola from Fro
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Musicnotes
Show Yourself - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet mu...
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Show Yourself - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Solo;Instrumental Part, instruments: Viola; 3 pages -- Movie/TV~~Soundtrack~~Musical
$3.99 ≈
3.73€
Into the Unknown - Viola from Frozen 2 - Instrumental Solo
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Alto seul
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Film/TV
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Film Walt Disney
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Into the Unknown - Viola from
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Musicnotes
Performed by: Idina Menzel: Into the Unknown - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive...
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Performed by: Idina Menzel: Into the Unknown - Viola - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Solo;Instrumental Part, instruments: Viola; 3 pages -- Movie/TV~~Soundtrack~~Musical
$3.99 ≈
3.73€
Frozen Blast (score)
Frozen Blast (score)
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Quatuor à cordes: 2 violons, alto, violoncelle
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Contemporain
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USUI, Shiori
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Frozen Blast
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Europa Edition Ltd
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SheetMusicPlus
String Quartet String Quartet - SKU: A0.1009860 Composed by USUI, Shiori. 20th Century,Contemporary. Score and parts. 25 pages. Europa Edition Ltd #3515...
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String Quartet String Quartet - SKU: A0.1009860 Composed by USUI, Shiori. 20th Century,Contemporary. Score and parts. 25 pages. Europa Edition Ltd #3515275. Published by Europa Edition Ltd (A0.1009860). Frozen Blast is a modernist tour de force for string orchestra and string quartet by the Edinburgh-based composer Shiori Usui, who is originally from Japan.According to the composer:The initial inspiration for Frozen Blast was the sculpture/installation ‘Cold Dark Matter: An Exploded View’ (1991) by the British artist Cornelia Parker. I sought to regenerate the image of the work and expand it through my own musical
$9.99 ≈
9.35€
Show Yourself from Frozen 2 - String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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Show Yourself from Frozen 2 -
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Musicnotes
Show Yourself - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file...
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Show Yourself - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: String Quartet;Score & Parts, instruments: Violin 1;Violin 2;Viola;Cello; 26 pages -- Instrumental Pop~~Movie/TV~~Soundtrack~~Musical~~Classical Pop
$19.99 ≈
18.71€
All Is Found from Frozen 2 - String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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All Is Found from Frozen 2 - S
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Musicnotes
All Is Found - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file,...
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All Is Found - (from Disney's Frozen 2) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: String Quartet;Score & Parts, instruments: Violin 1;Violin 2;Viola;Cello; 11 pages -- Instrumental Pop~~Movie/TV~~Soundtrack~~Musical~~Classical Pop
$19.99 ≈
18.71€
Lost in the Woods from Frozen 2 - String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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Lost in the Woods from Frozen
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Musicnotes
Performed by: Jonathan Groff: Lost in the Woods - (from Disney's Frozen 2) Digital Sheetmusic plus an interactive, downloadable digital sheet music file, s...
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Performed by: Jonathan Groff: Lost in the Woods - (from Disney's Frozen 2) Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: String Quartet;Score & Parts, instruments: Violin 1;Violin 2;Viola;Cello; 19 pages -- Movie/TV~~Musical~~Soundtrack
$19.99 ≈
18.71€
Let It Go (Movie Version) - Viola from Frozen - for Viola
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Alto (partie séparée)
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Let It Go (Movie Version) - Vi
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Musicnotes
Performed by: Idina Menzel: Let It Go (Movie Version) - Viola - From the Walt Disney Pictures and Walt Disney Animation Studios film Frozen Digital Sheetmusic -...
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Performed by: Idina Menzel: Let It Go (Movie Version) - Viola - From the Walt Disney Pictures and Walt Disney Animation Studios film Frozen Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: Instrumental Solo;Instrumental Part, instruments: Viola; 3 pages -- Soundtrack~~Pop~~Movie/TV
$3.25 ≈
3.04€
Show Yourself (from Disney's Frozen 2)
Show Yourself (from Disney's Frozen 2)
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Alto seul
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Enfant
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Film Walt Disney
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Idina Menzel and Evan Rachel
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Show Yourself
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Hal Leonard - Digital
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SheetMusicPlus
By Idina Menzel and Evan Rachel Wood. This edition: Interactive Download. Children, Disney, Film/TV. Viola Solo. 2 pages. Published by Hal Leonard - ...
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By Idina Menzel and Evan Rachel Wood. This edition: Interactive Download. Children, Disney, Film/TV. Viola Solo. 2 pages. Published by Hal Leonard - Digital
$2.99 ≈
2.80€
Skating, from Winter Carols (String Quartet No 1)
Skating, from Winter Carols (String Quartet No 1)
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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James Nathaniel Holland
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Skating, from Winter Carols
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James Nathaniel Holland
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.730189 Composed by James Nathaniel Holland. Christmas,Contemporary. 20 pages. James Nathaniel Holland ...
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String Quartet String Quartet - Level 4 - SKU: A0.730189 Composed by James Nathaniel Holland. Christmas,Contemporary. 20 pages. James Nathaniel Holland #1920405. Published by James Nathaniel Holland (A0.730189). Movement 1 only from James Nathaniel Holland's String Quartet No 1. The music drifts like snowflakes and creates a feel of cold, chilly breezes of an afternoon on a frozen pond, skating. Lovely piece for your winter concert.
$8.75 ≈
8.19€
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