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Vous avez sélectionné:
Raft for two violas
Partitions à imprimer
11 partitions trouvées
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1
Raft - for two violas
Raft - for two violas
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2 Altos (duo)
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INTERMÉDIAIRE
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Contemporain
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Tom Kersey
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Raft - for two violas
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Tom Kersey
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SheetMusicPlus
Viola Duet Viola - Level 3 - SKU: A0.1043028 Composed by Tom Kersey. 20th Century,Classical,Contemporary. Score. 2 pages. Tom Kersey #647729. Published ...
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Viola Duet Viola - Level 3 - SKU: A0.1043028 Composed by Tom Kersey. 20th Century,Classical,Contemporary. Score. 2 pages. Tom Kersey #647729. Published by Tom Kersey (A0.1043028). This viola duet is modal and hauntingly beautiful.
$1.99 ≈
£1.56
Menuet (for 2 violas) - from the notebooks for Anna Magdalena
Menuet (for 2 violas) - from the notebooks for Anna Magdalena
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2 Altos (duo)
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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Rodrigo Faleiros
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Menuet
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Rodrigo Faleiros
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SheetMusicPlus
Viola Duet Viola - Level 3 - SKU: A0.1450712 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Standards,Traditional. Sco...
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Viola Duet Viola - Level 3 - SKU: A0.1450712 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Standards,Traditional. Score. 3 pages. Rodrigo Faleiros #1029965. Published by Rodrigo Faleiros (A0.1450712). Dive into the baroque elegance of Johann Sebastian Bach’s “Menuet” with this charming arrangement for two violas. Drawn from the treasured notebooks of Anna Magdalena, this piece has been thoughtfully adapted for players with intermediate skills. The arrangement encourages a duet of violas to gracefully navigate the beloved melodies, offering a new take on a historic composition. Key Features: Intermediate Level: Tailored for players with intermediate abilities, this arrangement respects Bach’s original work while presenting an enjoyable challenge. Duet Arrangement: Crafted for two violas, this arrangement fosters a dynamic exchange between players, reflecting the sophistication of the baroque period. Chord Symbols: The inclusion of chord symbols provides a foundation for harmonic exploration and accompaniment, enriching the overall musical experience. Ideal for recitals, teaching moments, or the sheer pleasure of playing Bach’s music, this arrangement brings the finesse of the baroque era to the forefront with each note. Experience the collaborative joy of this viola duet and let the legacy of Bach’s Menuet resonate through your performance. ➡️➡️ Check out my other arrangements clicking here! ⬅️⬅️
$4.99 ≈
£3.92
Menuet (for 2 violas) - from the notebooks for Anna Magdalena
Menuet (for 2 violas) - from the notebooks for Anna Magdalena
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2 Altos (duo)
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INTERMÉDIAIRE
#
Classique
#
Johann Sebastian Bach
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Rodrigo Faleiros
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Menuet
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Rodrigo Faleiros
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SheetMusicPlus
Viola Duet Viola - Level 3 - SKU: A0.1450711 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Standards,Traditional. Sco...
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Viola Duet Viola - Level 3 - SKU: A0.1450711 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Standards,Traditional. Score. 3 pages. Rodrigo Faleiros #1029964. Published by Rodrigo Faleiros (A0.1450711). Dive into the baroque elegance of Johann Sebastian Bach’s “Menuet” with this charming arrangement for two violas. Drawn from the treasured notebooks of Anna Magdalena, this piece has been thoughtfully adapted for players with intermediate skills. The arrangement encourages a duet of violas to gracefully navigate the beloved melodies, offering a new take on a historic composition. Key Features: Intermediate Level: Tailored for players with intermediate abilities, this arrangement respects Bach’s original work while presenting an enjoyable challenge. Duet Arrangement: Crafted for two violas, this arrangement fosters a dynamic exchange between players, reflecting the sophistication of the baroque period. Ideal for recitals, teaching moments, or the sheer pleasure of playing Bach’s music, this arrangement brings the finesse of the baroque era to the forefront with each note. Experience the collaborative joy of this viola duet and let the legacy of Bach’s Menuet resonate through your performance. ➡️➡️ Check out my other arrangements clicking here! ⬅️⬅️
$4.99 ≈
£3.92
Haydn: Divertimento No. 25 Trio for Two Violas & Cello
Haydn: Divertimento No. 25 Trio for Two Violas & Cello
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Classique
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Franz Joseph Haydn
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James M
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Cello
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Haydn: Divertimento No. 25 Tri
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jmsgu3
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SheetMusicPlus
String Ensemble,String Trio Cello,Viola - Level 3 - SKU: A0.552125 Composed by Franz Joseph Haydn. Arranged by James M. Guthrie. Classical,Instructional...
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String Ensemble,String Trio Cello,Viola - Level 3 - SKU: A0.552125 Composed by Franz Joseph Haydn. Arranged by James M. Guthrie. Classical,Instructional,Standards,Wedding. Score and parts. 19 pages. Jmsgu3 #6136987. Published by jmsgu3 (A0.552125). Divertimento in three movements in G major. Originally scored for Baryton, Viola & Cello.1. Moderato2. Menuetto3. Finale: Allegro assaiDuration: 8:30Score: 10 pagesFranz Josef Haydn was an Austrian composer who is best known for his work in the field of chamber music. He composed in a variety of musical forms, including divertimenti, trios and string quartets. He was a prolific composer who wrote over 100 pieces of chamber music and is believed to have been a major influence on the music of his students and contemporaries, including Mozart and Beethoven. Haydn's music is known for its balance and clarity in structure. His chamber works were known for their accessibility and elegance, with melodies that were often lighthearted and charming. His symphonies were well-crafted and often featured balanced melodic elements. Haydn composed many well-known divertimenti and trios, but his string quartets are what he is most celebrated for. He wrote some sixty to eighty string quartets, and these works were historically significant for expanding the limits of the genre and for their influence on the composers and musicians who followed him.
$32.95 ≈
£25.87
Dona Nobis Pacem - for 2 violas (with chords)
Dona Nobis Pacem - for 2 violas (with chords)
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2 Altos (duo)
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FACILE
#
Traditional
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Rodrigo Faleiros
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Dona Nobis Pacem - for 2 viola
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Rodrigo Faleiros
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SheetMusicPlus
Viola Duet Viola - Level 2 - SKU: A0.1354565 Composed by Traditional. Arranged by Rodrigo Faleiros. Chamber,Classical,Sacred,Traditional. Score. 4 pages...
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Viola Duet Viola - Level 2 - SKU: A0.1354565 Composed by Traditional. Arranged by Rodrigo Faleiros. Chamber,Classical,Sacred,Traditional. Score. 4 pages. Rodrigo Faleiros #939010. Published by Rodrigo Faleiros (A0.1354565). Elevate your musical collaboration with our viola duet arrangement of Dona Nobis Pacem, meticulously crafted for intermediate players. This sheet music invites you to explore the timeless beauty of the piece through the harmonious interplay of two violas. With an intermediate level of complexity, both flutists can delve into the expressive melodies, creating a nuanced rendition of this cherished composition.Key Features:Viola Duet Excellence: Perfect for intermediate flutists, this arrangement emphasizes the collaborative beauty of Dona Nobis Pacem.Intermediate Level: Challenge and enhance your skills with a thoughtfully crafted arrangement that strikes the right balance between accessibility and musical depth.Instant : Begin your musical journey promptly with our convenient PDF download.Ideal for performances, recitals, or simply enjoying the art of musical partnership, this viola duet arrangement of Dona Nobis Pacem offers a fulfilling and expressive experience for both players.Check out every other arrangement I've made for this and numerous other songs clicking here.
$2.99 ≈
£2.35
Dona Nobis Pacem - for 2 violas
Dona Nobis Pacem - for 2 violas
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2 Altos (duo)
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FACILE
#
Traditional
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Rodrigo Faleiros
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Dona Nobis Pacem - for 2 viola
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Rodrigo Faleiros
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SheetMusicPlus
Viola Duet Viola - Level 2 - SKU: A0.1354566 Composed by Traditional. Arranged by Rodrigo Faleiros. Chamber,Classical,Sacred,Traditional. Score. 4 pages...
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Viola Duet Viola - Level 2 - SKU: A0.1354566 Composed by Traditional. Arranged by Rodrigo Faleiros. Chamber,Classical,Sacred,Traditional. Score. 4 pages. Rodrigo Faleiros #939011. Published by Rodrigo Faleiros (A0.1354566). Elevate your musical collaboration with our viola duet arrangement of Dona Nobis Pacem, meticulously crafted for intermediate players. This sheet music invites you to explore the timeless beauty of the piece through the harmonious interplay of two violas. With an intermediate level of complexity, both flutists can delve into the expressive melodies, creating a nuanced rendition of this cherished composition.Key Features:Viola Duet Excellence: Perfect for intermediate flutists, this arrangement emphasizes the collaborative beauty of Dona Nobis Pacem.Intermediate Level: Challenge and enhance your skills with a thoughtfully crafted arrangement that strikes the right balance between accessibility and musical depth.Instant : Begin your musical journey promptly with our convenient PDF download.Ideal for performances, recitals, or simply enjoying the art of musical partnership, this viola duet arrangement of Dona Nobis Pacem offers a fulfilling and expressive experience for both players.Check out every other arrangement I've made for this and numerous other songs clicking here.
$2.99 ≈
£2.35
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
£18.83
The Wheels on the Bus
The Wheels on the Bus
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2 Altos (duo)
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FACILE
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Traditional
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André Nusa
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The Wheels on the Bus
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Andre_Nusa
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SheetMusicPlus
Viola Duet Viola - Level 2 - SKU: A0.1411592 Composed by Traditional. Arranged by André Nusa. Children,Folk,Traditional. Score. 3 pages. Andre_Nusa #...
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Viola Duet Viola - Level 2 - SKU: A0.1411592 Composed by Traditional. Arranged by André Nusa. Children,Folk,Traditional. Score. 3 pages. Andre_Nusa #993824. Published by Andre_Nusa (A0.1411592). Experience the timeless charm of The Wheels on the Bus with this engaging arrangement crafted for two violas. Designed for both beginner and intermediate players, this adaptation offers a delightful musical experience suitable for honing fundamental skills and exploring new techniques. Whether you're just starting your musical journey or seeking to enhance your proficiency, this arrangement provides a fun and rewarding opportunity to play together and bring this classic melody to life.
$1.99 ≈
£1.56
Allegro K3
Allegro K3
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2 Altos (duo)
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FACILE
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Classique
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Wolfgang Amadeus Mozart
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André Nusa
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Allegro K3
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Andre_Nusa
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SheetMusicPlus
Viola Duet Viola - Level 2 - SKU: A0.1420224 Composed by Wolfgang Amadeus Mozart. Arranged by André Nusa. Chamber,Classical. Score. 4 pages. Andre_Nu...
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Viola Duet Viola - Level 2 - SKU: A0.1420224 Composed by Wolfgang Amadeus Mozart. Arranged by André Nusa. Chamber,Classical. Score. 4 pages. Andre_Nusa #1001699. Published by Andre_Nusa (A0.1420224). Discover the timeless beauty of Mozart's Allegro K3 with this enchanting arrangement for two violas, meticulously crafted for both beginner and intermediate players. Immerse yourself in the elegance and charm of Mozart's composition as you explore its delightful melodies and intricate harmonies. Perfect for duet performances, this arrangement offers an accessible yet engaging musical experience, allowing players of varying skill levels to collaborate and showcase their talents. Whether you're a beginner seeking to develop your musical skills or an intermediate player looking for a new challenge, this arrangement of Allegro K3 promises to captivate and inspire, making it an essential addition to any repertoire.
$1.99 ≈
£1.56
Wet Hands
Wet Hands
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2 Altos (duo)
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DÉBUTANT
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Jeux Videos
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C418
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André Nusa
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Wet Hands
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Andre_Nusa
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SheetMusicPlus
Viola Duet Viola - Level 1 - SKU: A0.1216020 By C418. By Daniel Rosenfeld. Arranged by André Nusa. Video Game. Score. 4 pages. Andre_Nusa #812677. Pu...
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Viola Duet Viola - Level 1 - SKU: A0.1216020 By C418. By Daniel Rosenfeld. Arranged by André Nusa. Video Game. Score. 4 pages. Andre_Nusa #812677. Published by Andre_Nusa (A0.1216020). This arrangement for viola duo of the song Wet Hands from the game Minecraft captures the contemplative and peaceful tone of the original composition. The violas weaves together in harmony, delicately exploring the melodic motifs that are central to the piece. The arrangement might include variations in dynamics and phrasing, allowing the violas to convey the emotional depth of the song's simple yet poignant melody. The arrangement highlights the beauty of the piece's simple, minimalist structure, emphasizing the warmth and intimacy of the sound of two violas playing in harmony. This arrangement is a great choice for musicians looking to add a calming and reflective piece to their repertoire, or for gamers who want to experience the meditative quality of the music outside the context of the game.
$5.99 ≈
£4.70
Yankee Doodle
Yankee Doodle
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2 Altos (duo)
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DÉBUTANT
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American Folk Song
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André Nusa
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Yankee Doodle
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Andre_Nusa
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SheetMusicPlus
Viola Duet Viola - Level 1 - SKU: A0.1259640 Composed by American Folk Song. Arranged by André Nusa. Children,Folk,Historic,Patriotic,Traditional. Sc...
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Viola Duet Viola - Level 1 - SKU: A0.1259640 Composed by American Folk Song. Arranged by André Nusa. Children,Folk,Historic,Patriotic,Traditional. Score. 3 pages. Andre_Nusa #852934. Published by Andre_Nusa (A0.1259640). Embark on a delightful musical journey with the iconic American folk tune Yankee Doodle arranged for two beginner-level viola players. This arrangement is specifically crafted to cater to beginners, providing a perfect opportunity to develop your viola skills while exploring the lively and spirited melodies of this beloved patriotic song. The two viola parts blend harmoniously, creating a dynamic and engaging duet that is both fun to play and enjoyable to listen to. Perfect for recitals, school performances, or casual playing, this arrangement allows you to showcase your viola skills while immersing yourself in a piece of American history.
$4.99 ≈
£3.92
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Raft for two violas
