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You've selected:
Various Voice, Violin, Organ, Viola
Sheetmusic to print
11 sheet music found
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1
Fugue in G minor (Little Organ Fugue) (BWV 578) by JS Bach - arranged for String Quartet
Fugue in G minor (Little Organ Fugue) (BWV 578) by JS Bach - - String Quartet
#
String Quartet: 2 violins, viola, cello
#
Classical
#
Johann Sebastian Bach
#
Pietro Prugna
#
Fugue in G minor
#
Pietro Prugna
#
SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.497956 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,...
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String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.497956 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Christmas,Classical,Sacred,Spiritual. Score and parts. 14 pages. Published by Pietro Prugna (A0.497956). This beautiful piece by JS Bach was originally written for Organ. It is arranged for String Quartet. The various voices can be played by different musicians. They are also heard more clearly by audience. Where possible, Violin 2 can be played by a 5-stringed violin or a viola. Violin 1 score is edited for easy turning after page 1. The pdf includes the Full Score for String Quartet and Set of Parts (Violin I, Violin II, Viola and Cello). For Violin II, both options of using a regular 4-stringed Violin and alternatives (Viola or 5-stringed Violin) are in the same sheet music/music score.
$1.99 ≈
1.86€
Bach: Wachet auf for Viola & Piano
Bach: Wachet auf for Viola & Piano
#
Viola, Piano
#
EASY
#
Classical
#
Johann Sebastian Bach
#
James M
#
#
Bach: Wachet auf for Viola & P
#
jmsgu3
#
SheetMusicPlus
Piano,Viola - Level 2 - Digital Download SKU: A0.549837 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sa...
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Piano,Viola - Level 2 - Digital Download SKU: A0.549837 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3554477. Published by jmsgu3 (A0.549837). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95 ≈
23.34€
Fugue in G minor (BWV 1001) (3 Sonatas and 3 Partitas for Solo Violin) - String Trio arrangement
Fugue in G minor (BWV 1001) (3 Sonatas and 3 Partitas for Solo Violin) - String Trio arrangement
#
String Trio: violin, viola, cello
#
Classical
#
Johann Sebastian Bach
#
Pietro Prugna
#
Fugue in G minor
#
Pietro Prugna
#
SheetMusicPlus
String Ensemble,String Trio Cello,Viola,Violin - Digital Download SKU: A0.497951 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Cl...
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String Ensemble,String Trio Cello,Viola,Violin - Digital Download SKU: A0.497951 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Instructional. Score and parts. 19 pages. Published by Pietro Prugna (A0.497951). This piece was originally written for Solo Violin. For beginners, it may be difficult to hear the different parts for the piece and technically difficult to play the piece. In this arrangement for String Trio, the piece is split into 3 voices. This enables musicians to play this piece together and appreciate the various parts both separately and together in the Fugue. While doing the arrangement, reference was made with JS Bach's own transcription of this piece for Organ (BWV 539). With the expanded musical palette of the Organ transcription, much insight can be gained into Bach's ideas on this Fugue. Portions of the Organ version were incorporated to this arrangement, especially where there is only 1 melody line. In addition, the theme is also repeated over some single melody lines. The pdf contains the Full Score for String Trio and Set of Parts (Violin, Viola and Cello). They are formatted for easy page turning and reading.
$1.99 ≈
1.86€
Star Cluster (for String Quintet)
Star Cluster (for String Quintet)
#
String Quintet: 2 violins, viola, cello, bass
#
INTERMEDIATE/ADVANCED
#
Adam Lenhart
#
Star Cluster
#
Adam Lenhart
#
SheetMusicPlus
String Quintet Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.1157413 Composed by Adam Lenhart. 20th Century,Contemporary,Instructio...
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String Quintet Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.1157413 Composed by Adam Lenhart. 20th Century,Contemporary,Instructional. 19 pages. Adam Lenhart #757744. Published by Adam Lenhart (A0.1157413). Star Cluster is a contemporary piece written for string quintet and utilizes the different strings of the various instruments to create a large variety of colors. This work utilizes various bow colors as well to truly create the atmosphere of various stars shimmering together, each one catching the eye for only a fraction of a second. A short but charming piece that allows players to explore extended technique and the variety of string color combinations possible.---------------------------Adam Lenhart is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$4.99 ≈
4.67€
Bach: Wachet auf for String Trio
Bach: Wachet auf for String Trio
#
String Trio: violin, viola, cello
#
INTERMEDIATE
#
Classical
#
Johann Sebastian Bach
#
James M
#
#
Bach: Wachet auf for String Tr
#
jmsgu3
#
SheetMusicPlus
String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.549856 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,C...
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String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.549856 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and parts. 12 pages. Jmsgu3 #3555135. Published by jmsgu3 (A0.549856). Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. Voyager
$27.95 ≈
26.15€
I Wonder As I Wander
I Wonder As I Wander
#
String Quartet: 2 violins, viola, cello
#
INTERMEDIATE
#
Rock
#
John Jacob Niles
#
Joel Jacklich (ASCAP)
#
I Wonder As I Wander
#
Joel Jacklich
#
SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1312368 Composed by John Jacob Niles. Arranged by Joel Jacklich (AS...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1312368 Composed by John Jacob Niles. Arranged by Joel Jacklich (ASCAP). Chamber,Christmas,Folk,Holiday,Traditional. 11 pages. Joel Jacklich #901221. Published by Joel Jacklich (A0.1312368). I Wonder as I Wander by John Jacob Niles is here arranged by Joel Jacklich (ASCAP) for voice and string quartet.à Wonder as I Wander nis a Christian folk hymn, typically performed as a Christmas carol, written by American folklorist and singer John Jacob Niles. The hymn has its origins in a song fragment collected by Niles on July 16, 1933.[1][2][3][4][5]While in the town of Murphy in Appalachian North Carolina, Niles attended a fundraising meeting held by evangelicals who had been ordered out of town by the police.[1][5] In his unpublished autobiography, he wrote of hearing the song:A girl had stepped out to the edge of the little platform attached to the automobile. She began to sing. Her clothes were unbelievable dirty and ragged, and she, too, was unwashed. Her ash-blond hair hung down in long skeins. ... But, best of all, she was beautiful, and in her untutored way, she could sing. She smiled as she sang, smiled rather sadly, and sang only a single line of a song.[2]The girl, named Annie Morgan, repeated the fragment seven times in exchange for a quarter per performance, and Niles left with three lines of verse, a garbled fragment of melodic material—and a magnificent idea.[2][5] (In various accounts of this story, Niles hears between one and three lines of the song.[2][4][5][6]) Based on this fragment, Niles composed the version of I Wonder as I Wander that is known today, extending the melody to four lines and the lyrics to three stanzas.[2][3][5] His composition was completed on October 4, 1933.[2] Niles first performed the song on December 19, 1933, at the John C. Campbell Folk School in Brasstown, North Carolina.[2][6] It was originally published in Songs of the Hill Folk in 1934.[4][6]References1. Bradley, Ian. The Penguin Book of Carols. Penguin (1999), p148. ISBN 0-14-027526-6.2. Pen, Ron. I Wonder as I Wander. A Kentucky Christmas (George Ella Lyon, editor). University Press of Kentucky (2003), p200–201. ISBN 0-8131-2279-1.3. Studwell, William E. The Christmas Carol Reader. Haworth Press (1995), p111. ISBN 1-56024-974-9.4. Emmons, Shirlee & Wilbur Watkin Lewis. Researching the Song: A Lexicon. Oxford University Press (2006), p242. ISBN 0-19-515202-6.5. Niles, John Jacob. I Wonder as I Wander. Archived 2006-03-25 at the Wayback Machine John-Jacob-Niles.com.6. Stulken, Marilyn K. With One Voice: Reference Companion. Augsburg Fortress (2000), p25. ISBN 0-8066-3843-5.Program Notes from Wikipedia.
$12.99 ≈
12.15€
Iron Balconies and Lilies for soprano, piano and chamber ensemble
Iron Balconies and Lilies for soprano, piano and chamber ensemble
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Contemporary
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The Sea II
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Robert M
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Iron Balconies and Lilies for
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Robert M. Greenberg
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Flute,High Voice,Oboe,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.987859 Composed by Robert M. Greenberg. 20th ...
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Large Ensemble Cello,Clarinet,Flute,High Voice,Oboe,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.987859 Composed by Robert M. Greenberg. 20th Century. Score and parts. 264 pages. Robert M. Greenberg #115607. Published by Robert M. Greenberg (A0.987859). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 35 minutes Year of composition: 1992 Program Note: I. A City By The Sea II. Hay Mowing III. When Grandma, May She Rest In Peace, Died IV. Longing V. Ancient Murderess Night VI. Lullaby VII. Toys VIII. Old Age IX. Rest IRON BALCONIES AND LILIES was written between December 1991 and November 1992. The nine poems of the cycle, originally in Yiddish and by various poets, speak of a woman's life at various stages, from extreme old age to youth, and back to old age. The poetry is magnificent and direct: at turns quiet, passionate, gentle, ferocious, erotic, agonized and violent. In setting these poems, I have particularly sought to capture the many images and metaphors that unite them. For example, the music representing the violent, life-giving blades (scythes) of No. 2 evoke agonized, ritualized grief in No. 3, a ghastly (and comic) celebration of death in No. 5, and ultimately, a wondrous and benign angel of death in No. 9. Over the course of the cycle, the power and singular clarity of childhood memory gives way to the quiet complexity and blurred edge of adult memory. All poems used by permission.
$44.00 ≈
41.17€
Gottes Zeit ist die allerbeste Zeit - For String Orquestra
Gottes Zeit ist die allerbeste Zeit - For String Orquestra
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Classical
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Johann Sebastian Bach
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Luis Anjos Teixeira
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste
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Luis Anjos Teixeira
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.889436 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixe...
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Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.889436 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. Score and parts. 11 pages. Luis Anjos Teixeira #4737807. Published by Luis Anjos Teixeira (A0.889436). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of theDivi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern string orquestra or a string quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. If the orquestra only has one double bass I would recommend you to reenforce the bass with a cello. It can be very well performed by a „string quintet- a string quartet with a double bass. Have fun! It is a piece that can be used in many different kinds of situations, in a serious concert hall, or a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$10.99 ≈
10.28€
Pitch Only - Treble Clef (Sight Reading Exercise Book)
Pitch Only - Treble Clef (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Pitch Only - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,O...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - Digital Download SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00 ≈
9.36€
Classic Love Songs - A Valentine's Day Fake Book - Bandleader Gig Pack with 3 Fake Books (C, Bb & Eb
Classic Love Songs - A Valentine's Day Fake Book - Bandleader Gig Pack with 3 Fake Books (C, Bb & Eb
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Various
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StephenBulat
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Classic Love Songs - A Valenti
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Stephen Bulat Publishing
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Te...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Tenor Recorder,Tenor Saxophone,Trombone,Trumpet,Ukulele,Viola,Violin,Voice - Digital Download SKU: A0.858940 Composed by Various. Arranged by StephenBulat. Holiday,Jazz,Love,Romantic Period,Wedding. Score and parts. 191 pages. Stephen Bulat Publishing #6259511. Published by Stephen Bulat Publishing (A0.858940). This compilation of romantic jazz, French, Italian, Celtic and classical love songs is perfect for anyone looking for the ideal serenade music for a wedding, romantic event or Valentine’s Day. Songs are arranged in the fake book/lead sheet format. (melody, lyrics & chords)This is the Bandleader Gig Pack, which has 3 fake books in total; one for C instruments; one for Bb instruments and one for Eb instruments. Perfect for the band leader that has an ensemble with differently pitched instruments that want to work off the same gig book. All rehearsal markings and bar numbers match across each book.
$28.99 ≈
27.12€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.45€
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Various Voice, Violin, Organ, Viola
