Download Digital Sheet Music of jmsgu3 for Viola, Piano

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Faure: Sicilienne for Viola & Piano
Faure: Sicilienne for Viola & Piano #Viola, Piano #Classical #Gabriel Faure #James M #Faure: Sicilienne for Viola & #jmsgu3 #SheetMusicPlus

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Composed by Gabriel Faure (1845-1924). Arranged by James M. Guthrie, ASCAP. 20th Century, Repertoire, General Instructional, Technique Training, Recital. Score, Set of Parts. 16 pages. Published by jmsgu3 (S0.317473). - Score,Set of Parts - 20th Century,Repertoire,General Instructional,Technique Training,Recital - jmsgu3

Mendelssohn: Song Without Words Op. 109 for Viola & Piano
Mendelssohn: Song Without Words Op. 109 for Viola & Piano #Viola, Piano #Instructional #Felix Bartholdy Mendelssohn #James M #Mendelssohn: Song Without Word #jmsgu3 #SheetMusicPlus

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Composed by Felix Bartholdy Mendelssohn (1809-1847). Arranged by James M. Guthrie, ASCAP. Romantic Period, General Worship, Repertoire, Technique Training, Recital. Score, Set of Parts. 20 pages. Published by jmsgu3 (S0.346243). - Score,Set of Parts - Romantic Period,General Worship,Repertoire,Technique Training,Recital - jmsgu3

Bach: Sheep May Safely Graze for Viola & Piano
Bach: Sheep May Safely Graze for Viola & Piano #Viola, Piano #Classical #Johann Sebastian Bach #James M #Bach: Sheep May Safely Graze f #jmsgu3 #SheetMusicPlus

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Composed by Johann Sebastian Bach (1685-1750). Arranged by James M. Guthrie, ASCAP. Baroque Period, Repertoire, Anniversary, Wedding, Recital. Score, Set of Parts. 12 pages. Published by jmsgu3 (S0.314657). - Score,Set of Parts - Baroque Period,Repertoire,Anniversary,Wedding,Recital - jmsgu3

Coldplay: A Sky Full Of Stars for Viola and Piano
Coldplay: A Sky Full Of Stars for Viola and Piano #Viola, Piano #Rock #Rock #Coldplay #James M #Coldplay: A Sky Full Of Stars #jmsgu3 #SheetMusicPlus

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By Coldplay. Arranged by James M. Guthrie. Score, Solo Part. 11 pages. Published by jmsgu3 (H0.228695-260304). - Score,Solo Part - - jmsgu3

Katy Perry: Rise for Viola & Piano
Katy Perry: Rise for Viola & Piano #Viola, Piano #Pop music #Katy Perry #James M #Katy Perry: Rise for Viola & P #jmsgu3 #SheetMusicPlus

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By Katy Perry. Arranged by James M. Guthrie, ASCAP. 15 pages. Published by jmsgu3 (H0.262441-276422). - - - jmsgu3

Five For Fighting: 100 Years for Viola and Piano
Five For Fighting: 100 Years for Viola and Piano #Viola, Piano #Rock #Five for Fighting #James M #Five For Fighting: 100 Years f #jmsgu3 #SheetMusicPlus

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By Five for Fighting. Arranged by James M. Guthrie. Score, Solo Part. 14 pages. Published by jmsgu3 (H0.250103-57544). - Score,Solo Part - - jmsgu3

The Rolling Stones: Angie for Viola & Piano
The Rolling Stones: Angie for Viola & Piano #Viola, Piano #Rock #The Rolling Stones #James M #The Rolling Stones: Angie for #jmsgu3 #SheetMusicPlus

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By The Rolling Stones. Arranged by James M. Guthrie. Score, Solo Part. 7 pages. Published by jmsgu3 (H0.206015-31190). - Score,Solo Part - - jmsgu3

Bryan Adams: (Everything I Do) I Do It For You for Viola & Piano
Bryan Adams: (Everything I Do) I Do It For You for Viola & Piano #Viola, Piano #Bryan Adams #James M #Bryan Adams: #jmsgu3 #SheetMusicPlus

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By Bryan Adams. Arranged by James M. Guthrie, ASCAP. Score, Solo Part. 13 pages. Published by jmsgu3 (H0.264325-232860). - Score,Solo Part - - jmsgu3

Tchaikovsky: March from Nutcracker Suite for Viola & Piano
Tchaikovsky: March from Nutcracker Suite for Viola & Piano #Viola, Piano #Classical #Peter Ilyich Tchaikovsky #James M #Tchaikovsky: March from Nutcra #jmsgu3 #SheetMusicPlus

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Composed by Peter Ilyich Tchaikovsky (1840-1893). Arranged by James M. Guthrie, ASCAP. Romantic Period, Repertoire, Christmas, Fairy Tales, Recital. Score, Set of Parts. 20 pages. Published by jmsgu3 (S0.360587). - Score,Set of Parts - Romantic Period,Repertoire,Christmas,Fairy Tales,Recital - jmsgu3

U2: Beautiful Day for Viola & Piano
U2: Beautiful Day for Viola & Piano #Viola, Piano #U2 #James M #U2: Beautiful Day for Viola & #jmsgu3 #SheetMusicPlus

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By U2. Arranged by James M. Guthrie. Score, Solo Part. 14 pages. Published by jmsgu3 (H0.295233-61484). - Score,Solo Part - - jmsgu3

Vanessa Carlton: A Thousand Miles for Viola and Piano
Vanessa Carlton: A Thousand Miles for Viola and Piano #Viola, Piano #Rock #Pop music #Vanessa Carlton #James M #Vanessa Carlton: A Thousand Mi #jmsgu3 #SheetMusicPlus

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By Vanessa Carlton. Arranged by James M. Guthrie. Score, Solo Part. 11 pages. Published by jmsgu3 (H0.204879-47870). - Score,Solo Part - - jmsgu3

Adele: All I Ask for Viola and Piano
Adele: All I Ask for Viola and Piano #Viola, Piano #Rock #Pop music #Adele #James M #Adele: All I Ask for Viola and #jmsgu3 #SheetMusicPlus

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By Adele. Arranged by James M. Guthrie. Score, Solo Part. 11 pages. Published by jmsgu3 (H0.203881-269293). - Score,Solo Part - - jmsgu3

The Beatles: Across The Universe for Viola and Piano
The Beatles: Across The Universe for Viola and Piano #Viola, Piano #Rock #The Beatles #James M #The Beatles: Across The Univer #jmsgu3 #SheetMusicPlus

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By The Beatles. Arranged by James M. Guthrie. Score, Solo Part. 4 pages. Published by jmsgu3 (H0.203189-4180). - Score,Solo Part - - jmsgu3

Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pages. Published by jmsgu3
The Water Is Wide (O Waly Waly)
Duration: 5:24
Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time
Solo part: 3 pg.
Piano part: 4 pg.

A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"
it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."
This is an original arrangement from the ground up.

Programming:
If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.
It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.
Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.

Keep in mind these performance ideas:
1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.
2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.
3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.

Synopsis of the arrangement:
verse 1: Simple quiet duet with the melody in the solo instrument.
verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.
verse 3: Melody in the piano in 4-part harmony.
verse 4: 3-part canon on the melody (with a free accompaniment voice).
verse 5: 2-part canon with a free accompaniment in the solo part
verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.
verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal
piano clusters over bass chords that suggest submerged church bells.

For better insight into the performance of this music: express the emotion indicated by the lyrics:

The Water Is Wide:
The water is wide, I cannot get over
Neither have I wings to fly
Give me a boat that can carry two
And both shall row, my love and I
A ship there is and she sails the sea
She's loaded deep as deep can be
But not so deep as the love I'm in
I know not if I sink or swim
I leaned my back against an oak
Thinking it was a trusty tree
But first it bent and then it broke
So did my love prove false to me
I reached my finger into some soft bush
Thinking the fairest flower to find
I pricked my finger to the bone
And left the fairest flower behind
Oh love be handsome and love be kind
Gay as a jewel when first it is new
But love grows old and waxes cold
And fades away like the morning dew
Must I go bound while you go free
Must I love a man who doesn't love me
Must I be born with so little art
As to love a man who'll break my heart
When cockle shells turn silver bells
Then will my love come back to me
When roses bloom in winter's gloom
Then will my love return to me

The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).

O Waly, waly (a lament ? "woe is me") up the bank,
And waly, waly doun the brae (hill),
And waly, waly, yon burn-side (riverside),
Where I and my love wont to gae.
I lean'd my back into an aik (oak),
I thocht it was a trusty tree;
But first it bow'd, and syne (soon) it brak (broke),
Sae my true love did lightly me.

O waly, waly, but love be bonnie (beautiful),
A little time while it is new,
But when 'tis auld (old), it waxeth cauld (cold),
And fades away like the morning dew.
O wherefore should I busk my heid (adorn my head)?
Or wherefore should I kame (comb) my hair?
For my true love has me forsook,
And says he'll never love me mair (more).

Now Arthur Seat shall be my bed,
The sheets shall ne'er be fyl'd by me,
Saint Anton's well shall be my drink,
Since my true love has forsaken me.
Martinmas wind, when wilt thou blaw (blow),
And shake the green leaves off the tree?
O gentle death, when wilt thou come?
For of my life I am weary.

'Tis not the frost, that freezes fell,
Nor blawing snaws (snow) inclemency,
'Tis not sic cauld (such cold) that makes me cry,
But my love's heart grown cauld to me.
When we cam in by Glasgow town,
We were a comely sight to see;
My love was clad in the black velvet,
And I my sell in cramasie (crimson).

But had I wist (known), before I kiss'd,
That love had been sae ill to win,
I'd lock my heart in a case of gold,
And pin'd it with a silver pin.
Oh, oh! if my young babe were born,
And set upon the nurse's knee,
And I my sell were dead and gane,
For a maid again I'll never be.[4]
(Lyrics courtesy of Wikipedia)

For more information, please feel free to contact me at: jmsgu3 "at" gmail.com
James M. Guthrie, ASCAP
jmsgu3 publications

Saint-Saens: The Swan for Viola and Piano
Saint-Saens: The Swan for Viola and Piano #Viola, Piano #EASY #Classical #Camille Saint-Saens #James M #Saint-Saens: The Swan for Viol #jmsgu3 #SheetMusicPlus

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Composed by Camille Saint-Saens (1835-1921). Arranged by James M. Guthrie, ASCAP. Romantic Period, Repertoire, General Instructional, Technique Training, Recital. Score, Set of Parts. 9 pages. Published by jmsgu3 (S0.319147). - Score,Set of Parts - Romantic Period,Repertoire,General Instructional,Technique Training,Recital - jmsgu3

Rachmaninoff: Vocalise for Viola and Piano
Rachmaninoff: Vocalise for Viola and Piano #Viola, Piano #INTERMEDIATE #Classical #Sergei Rachmaninoff #James M #Rachmaninoff: Vocalise for Vio #jmsgu3 #SheetMusicPlus

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Composed by Sergei Rachmaninoff (1873-1943). Arranged by James M. Guthrie, ASCAP. Romantic Period, Repertoire, Technique Training, Wedding, Recital. Score, Set of Parts. 13 pages. Published by jmsgu3 (S0.335481). - Score,Set of Parts - Romantic Period,Repertoire,Technique Training,Wedding,Recital - jmsgu3

Scriabin: Prelude, Op. 51, No. 2 for Viola & Harp
Scriabin: Prelude, Op. 51, No. 2 for Viola & Harp #Viola, Piano #INTERMEDIATE #Alexander Scriabin #James M #Scriabin: Prelude, Op. 51, No. #jmsgu3 #SheetMusicPlus

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Piano,Viola - Level 3 - Digital Download SKU: A0.1401524 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Chamber,Contemporary,Contest,Festival,Historic. Score and part. 7 pages. Jmsgu3 #984707. Published by jmsgu3 (A0.1401524). The historical context of Scriabin's Prelude, Op. 51 No. 2 is rooted in the broader tradition of preludes as improvisatory pieces that precede performances on keyboard instruments. Scriabin's composition, part of his Quatre Morceaux (Four Pieces) Op. 51, published in 1906, reflects his innovative approach to piano music within the musical landscape of the early 20th century. This piece, along with others by Scriabin, demonstrates a blend of traditional influences and his quest to develop a distinctive and original style in his compositions. The meaning behind Scriabin's Prelude, Op. 51 No. 2 is characterized by its emotional depth and expressive qualities, reflecting the composer's unique musical language and style. This piece, along with others by Scriabin, delves into themes of fatigue, exhaustion, eternity, and millions of years, as described by the composer. In this prelude, Scriabin's use of dissonance, tonal centers, and harmonic language conveys a sense of obsessively seeking out pain or grief. The composition captures a range of emotions, from fatigue to a cry in the night, showcasing Scriabin's ability to evoke intense feelings through his music.

Scriabin: Prelude, Op. 51, No. 2 for Viola & Piano
Scriabin: Prelude, Op. 51, No. 2 for Viola & Piano #Viola, Piano #INTERMEDIATE #Alexander Scriabin #James M #Scriabin: Prelude, Op. 51, No. #jmsgu3 #SheetMusicPlus

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Piano,Viola - Level 3 - Digital Download SKU: A0.1401537 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Chamber,Contemporary,Contest,Festival,Historic. Score and part. 7 pages. Jmsgu3 #984720. Published by jmsgu3 (A0.1401537). The historical context of Scriabin's Prelude, Op. 51 No. 2 is rooted in the broader tradition of preludes as improvisatory pieces that precede performances on keyboard instruments. Scriabin's composition, part of his Quatre Morceaux (Four Pieces) Op. 51, published in 1906, reflects his innovative approach to piano music within the musical landscape of the early 20th century. This piece, along with others by Scriabin, demonstrates a blend of traditional influences and his quest to develop a distinctive and original style in his compositions. The meaning behind Scriabin's Prelude, Op. 51 No. 2 is characterized by its emotional depth and expressive qualities, reflecting the composer's unique musical language and style. This piece, along with others by Scriabin, delves into themes of fatigue, exhaustion, eternity, and millions of years, as described by the composer. In this prelude, Scriabin's use of dissonance, tonal centers, and harmonic language conveys a sense of obsessively seeking out pain or grief. The composition captures a range of emotions, from fatigue to a cry in the night, showcasing Scriabin's ability to evoke intense feelings through his music.