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I See The Light for 3 Violins and 1 cello
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I See The Light for 3 Violins and 1 cello
I See The Light for 3 Violins and 1 cello
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Quatuor à cordes: 2 violons, alto, violoncelle
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Mandy Moore
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I See The Light for 3 Violins
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Jay Heo
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SheetMusicPlus
By Mandy Moore. Individual Part, Score. 13 pages. Published by Jay Heo (H0.194735-213183). - Individual Part,Score - - Jay Heo...
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By Mandy Moore. Individual Part, Score. 13 pages. Published by Jay Heo (H0.194735-213183). - Individual Part,Score - - Jay Heo
$19.99 ≈
18.45€
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 ≈
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I See The Light
I See The Light
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Orchestre à Cordes
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INTERMÉDIAIRE
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Contemporain
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Alan Menken
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Sherry Lewis
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I See The Light
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Sherry Lewis Publishing
#
SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.521913 Composed by Alan Menken. Arranged by Sherry Lewis. Contemporary. Score and Parts. 13 pages. Sherry Lewis Pub...
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String Orchestra - Level 3 - SKU: A0.521913 Composed by Alan Menken. Arranged by Sherry Lewis. Contemporary. Score and Parts. 13 pages. Sherry Lewis Publishing #6588353. Published by Sherry Lewis Publishing (A0.521913). I SEE THE LIGHT from Tangled String Orchestra, Intermediate Level for 2 violins, viola, cello and string bass chords such as C, Em, etc. Score: Yes Parts: 5 pages Time: 3'30 MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles. Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$12.99 ≈
11.99€
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
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Various
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Alastair Lodge
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Chording to the Dance Masters
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Wold Meridian
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SheetMusicPlus
Level 3 - SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman ...
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Level 3 - SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00 ≈
11.08€
Pachelbel Canon with optional Christmas Medley lyrics strings quartet and piano
Pachelbel Canon with optional Christmas Medley lyrics strings quartet and piano
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Classique
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Johann Pachelbel
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Connie Boss
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Pachelbel Canon with optional
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Connie Boss
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SheetMusicPlus
Cello,Piano Accompaniment,Violin - Level 3 - SKU: A0.1323437 Composed by Johann Pachelbel. Arranged by Connie Boss. 19th Century,Christian,Christmas,Hol...
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Cello,Piano Accompaniment,Violin - Level 3 - SKU: A0.1323437 Composed by Johann Pachelbel. Arranged by Connie Boss. 19th Century,Christian,Christmas,Holiday. 21 pages. Connie Boss #911661. Published by Connie Boss (A0.1323437). I decided to add a medley of public domain Christmas song lyrics to this iconic song. The lyrics are from While Shepherds Watch Their Flocks by Night, The First Noel, Away in a Manger and What Child is This? It is for a strings quartet - 3 violins and 1 cello and piano. Parts are included with purchaseThis can be played without the piano accompaniment if desired.This can also be played for Pachelbel Canon in D only - it plays the same.  email cdboss@cvalley.net with questions or request.Lyrics below:While shepherds watched their flocks by nightThey were seated on the groundThe angel of the Lord came downAnd glory shown aroundAnd glory shown aroundAnd glory shown aroundThey looked up and saw a starShining beyond them farAnd it gave great lightAnd it lit up the nightSo they followed that starThrough the nightAnd they found the child JesusIn a manger now crib for His bedOnly straw for His headAnd by the light from that same starWisemen came from country farTo seek for a king was their intentAnd follow the star where it wentThey gave Him gifts of gold and myrrh and frankincenseThe son of God, the King of Israel.
$7.99 ≈
7.37€
I See The Light
I See The Light
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Trio à Cordes: 2 violons, violoncelle
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DÉBUTANT
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Alan Menken and Glenn Slater
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Songhea
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I See The Light
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Songhea Sackrider
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SheetMusicPlus
String Trio Cello,Violin - Level 1 - SKU: A0.1267441 Composed by Alan Menken and Glenn Slater. Arranged by Songhea. Broadway,Classical,Contemporary,Musi...
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String Trio Cello,Violin - Level 1 - SKU: A0.1267441 Composed by Alan Menken and Glenn Slater. Arranged by Songhea. Broadway,Classical,Contemporary,Musical/Show,Pop,Wedding. 3 pages. Songhea Sackrider #860002. Published by Songhea Sackrider (A0.1267441). I See the Light for String Trio 2 violin and 1 cellofrom Tangled.
$12.99 ≈
11.99€
I See The Light
I See The Light
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Alan Menken and Glenn Slater
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César Madeira
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I See The Light
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Sheet Music To Play Editions
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1182424 Composed by Alan Menken and Glenn Slater. Arranged by César Madeira. Bro...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1182424 Composed by Alan Menken and Glenn Slater. Arranged by César Madeira. Broadway,Chamber,Contemporary,Film/TV,Musical/Show,Pop. 14 pages. Sheet Music To Play Editions #782172. Published by Sheet Music To Play Editions (A0.1182424). I See The Light from Tangled. Arrangement for String Quartet - Violin 1, 2, Viola and Violoncello. With Full Score and Individual Parts. Enjoy it!For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$19.99 ≈
18.45€
I See The Light - Score Only
I See The Light - Score Only
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Alan Menken and Glenn Slater
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César Madeira
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I See The Light - Score Only
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Sheet Music To Play Editions
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.1257785 Composed by Alan Menken and Glenn Slater. Arranged by César Madeira. 21st Century,Broadway,...
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String Quartet String Quartet - Level 3 - SKU: A0.1257785 Composed by Alan Menken and Glenn Slater. Arranged by César Madeira. 21st Century,Broadway,Chamber,Film/TV,Musical/Show,Wedding. 7 pages. Sheet Music To Play Editions #851016. Published by Sheet Music To Play Editions (A0.1257785). I See The Light from Tangled. Arrangement for String Quartet - Violin 1, 2, Viola and Violoncello. With Full Score. Enjoy it!This file DOES NOT contain Individual Parts. Full Score only.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$12.99 ≈
11.99€
String Quartet No. 12 ... The Seasons (2010) full score
String Quartet No. 12 ... The Seasons (2010) full score
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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String Quartet No. 12 ... The
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Thomas Oboe Lee
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.869207 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score...
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String Quartet String Quartet - Level 4 - SKU: A0.869207 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Summer: Cloudburst! Double rainbow … Trio 3). 48 pages. Thomas Oboe Lee #3905. Published by Thomas Oboe Lee (A0.869207). Program note: As indicated by the title, this is my twelfth string quartet. My very first work, Aperture (1974), was a string quartet. In between I wrote four (nos. 2 – 5) for the Kronos Quartet, one (no. 6) for the Manhattan String Quartet, one (no. 7) for the Lydian String Quartet, one (no. 8) for the Artaria String Quartet, two (nos. 9 - 10) for the Hawthorne String Quartet, and one (no. 11) for the Formosa Quartet. The number twelve immediately brought to mind the months of the year. But I thought a twelve-movement string quartet might be a bit excessive, and difficult to achieve in a coherent narrative arc. Most classical string quartets by Haydn, Mozart and Beethoven are in four movements. So why not the seasons, a movement for each: spring, summer, autumn, and winter. I am a huge fan of The Creation by Franz Joseph Haydn. Confession: I am a huge fan of anything by maestro Haydn. For inspiration and guidance, I went to Haydn’s other oratorio The Seasons. Armed with a Dover publication of the full score and a recording of the complete work by Sir Thomas Beecham on EMI Classics, I got down to work over the summer of 2010. String Quartet No. 12 … The Seasons, after Franz Joseph Haydn is in four movements, played without pause between movements. 1) Intro: Heavy snow … Spring: Crocuses blooming!!! 2) Summer: Cloudburst! Double rainbow … Trio 3) Autumn: La Caccia … Danza Rusticana … Trio 4) Intro: Heavy snow again … Winter: O Magnum Mysterium … Hail storm! The work begins with four descending chords, depicting the falling of snow. But it’s Spring and crocuses are seen peeping through the snow … Summer begins with cloudbursts, thunder, lightning and torrential rain. A double rainbow appears after the storm. The sun emerges from the clouds in the Trio section. It is a lovely day after all; but then the clouds return … La Caccia: men go hunting in the Autumn. Well, the men in Haydn’s days at least. Peasant ladies dance as they harvest in the fields. A hawk appears, soaring overhead in the Trio as the sun sets in an orange-red sky ... In Winter snow falls again; but it’s the season to celebrate the Nativity. Violin and viola chant O magnum mysterium … O Magnum Mysterium O great mystery Et admirabile sacramentum and wonderful sacrament Ut animalia viderent Dominum natum that animals should see the new-born Lord Jacentem in praesepio! lying in a manger! Beata Virgo, cujus viscera Blessed is the Virgin whose womb Meruerunt portare was worthy to bear Dominum Christum. Christ the Lord. Alleluia. Alleluia. A hailstorm wreaks havoc. Fine. Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/string-quartet-no-12-the-seasons-2010Video link: https://youtu.be/8seBbMtds84
$9.99 ≈
9.22€
Contagion (Full Album Score)
Contagion (Full Album Score)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Franco Esteve
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Franco Esteve
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Contagion
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Franco Esteve
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1121448 By Franco Esteve. By Franco Esteve. Arranged by Franco Esteve. Classical,Contemporary,Film/TV. Score and part...
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Full Orchestra - Level 4 - SKU: A0.1121448 By Franco Esteve. By Franco Esteve. Arranged by Franco Esteve. Classical,Contemporary,Film/TV. Score and parts. 68 pages. Franco Esteve #722619. Published by Franco Esteve (A0.1121448). About Contagion, the music From quarantine life, something painful this way comes, a new, pandemic inspired, life soundtrack… Contagion is a moment, an interruption, signifying an expression of feelings and music that the Covid-19 coronavirus pandemic and quarantine brought to light. It’s a contemporary classical life-track, serving as a soundtrack to the contagion, to its spread, to its mystery, its attack on the body, to our losses during the Covid-19 pandemic and to our future beyond them. As the virus flooded every news outlet, Contagion became an interruption, a mysterious invader, taking over everything, needing to be expressed. It’s a “lifetrack†or “life soundtrack†with its contemporary classical orchestral sounds expressing the feelings and experiences of those first few months of dread and quarantine, through which many of us felt the fear of it all and the actual loss of loved ones. Original Album Release date: May 14th, 2020 Genre: Contemporary Classical / Life Soundtrack • The album length is 9 minutes and 33 seconds About the Score This version of the score includes ALL 5 songs in the album and the instrument selection varies in accordance with the specific composition of each of the songs. The instruments used are: Horn Section, Soprano Trumpet, Bass Drum, Piano, Harp, Tuba, Wine Glasses, Cabasa, Triangle, Violins I, Violins II, Horn, Trumpet, Trombone, Timpani, Crash Cymbals, Cello Section, Trumpet Section, Gong, Cello Solo. I can imagine the songs can work adapted in a number of ways by different groups or a very advanced group of students. It'll be fun to hear how others interpret them. Music included In the package, I've included the full album's music score with each of the individual songs and their instrument parts and the original published songs as a single HQ MP3 (320 kbps), so players can get a feel for my intentions when composing each one. (You can listen to them free at https://francoesteve.com or on your favorite streaming service - links on my website’s album page linked below). The MP3 also includes a cello solo version of Death Is Not the End. Track list 1. Contagion (2:15) 2. The Spread (2:24) 3. Patient Zero (1:26) 4. Infected (1:26) 5. Death Is Not the End (2:02) Composer: Franco Esteve Genres: Contemporary Classical, Modern Classical, 21st Century Level: Advanced The Package includes 1. PDF with the Score The full score for each of the 5 songs in the album. All the individual parts for each song as written. 2. All 5 songs in a single MP3 HQ (320 kbps) format file including the Bonus Cello Only Version of Death is Not the End. Find out more about this album on Contagion's page on the Franco Esteve website here: https://www.francoesteve.com/music/contagion-music-album/ Thank you for your interest in my music. I hope y’all enjoy playing it as much as I did composing it. Don’t forget to keep up to date with everything Franco Esteve: Website: http://www.francoesteve.com/ Patreon: https://patreon.com/FrancoEsteve Facebook: https://www.facebook.com/seefrancoesteve Twitter: https://www.twitter.com/FrancoEsteve Instagram: https://www.instagram.com/seefrancoesteve My music is also available on all major, online music stores and streaming services. I'm a BMI affiliated artist and you can contact me using the contact form at: http://www.francoesteve.com or through Facebook and Twitter. Thank you again and enjoy! :).
$25.00 ≈
23.07€
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I See The Light for 3 Violins and 1 cello
