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Rather Be String Trio Violin, Viola, Cello
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Vous avez sélectionné:
Rather Be String Trio Violin, Viola, Cello
Partitions à imprimer
22 partitions trouvées
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1
Rather Be - String Trio Violin, Viola, Cello
Rather Be - String Trio Violin, Viola, Cello
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Trio à Cordes: violon, alto, violoncelle
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Clean Bandit
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Lorraine Deacon
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Rather Be - String Trio Violi
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Saffron Strings
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SheetMusicPlus
By Clean Bandit. Arranged by Lorraine Deacon. Score, Set of Parts. 11 pages. Published by Saffron Strings (H0.238263-258681). - Score,Set of Parts - - Saffron ...
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By Clean Bandit. Arranged by Lorraine Deacon. Score, Set of Parts. 11 pages. Published by Saffron Strings (H0.238263-258681). - Score,Set of Parts - - Saffron Strings
$12.99 ≈
11.99€
RATHER BE - String Trio, Intermediate Level for 2 violins and cello or violin, viola and cello
RATHER BE - String Trio, Intermediate Level for 2 violins and cello or violin, viola and cello
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Trio à Cordes: 2 violons, violoncelle
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INTERMÉDIAIRE
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Rock
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Clean Bandit
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Sherry Lewis
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RATHER BE - String Trio, Inter
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Sherry Lewis Publishing
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SheetMusicPlus
String Trio for 2 violins and cello or violin, viola and cello - Intermediate - By Clean Bandit. Arranged by Sherry Lewis. Score, Set of Parts. 23 p...
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String Trio for 2 violins and cello or violin, viola and cello - Intermediate - By Clean Bandit. Arranged by Sherry Lewis. Score, Set of Parts. 23 pages. Published by Sherry Lewis Publishing
$12.99 ≈
11.99€
12 Sacred Trios (or Duets) for Strings
12 Sacred Trios (or Duets) for Strings
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Trio à Cordes: violon, alto, violoncelle
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FACILE
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Musique Sacrée
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Various composers and traditio
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Denny Glasscock
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12 Sacred Trios
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Denny Glasscock
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SheetMusicPlus
String Ensemble,String Trio Cello,Viola,Violin - Level 2 - SKU: A0.922034 Composed by Various composers and traditional melodies. Arranged by Denny Glas...
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String Ensemble,String Trio Cello,Viola,Violin - Level 2 - SKU: A0.922034 Composed by Various composers and traditional melodies. Arranged by Denny Glasscock. Christian,Instructional,Sacred,Wedding. Score and parts. 93 pages. Denny Glasscock #5996969. Published by Denny Glasscock (A0.922034). This is a collection of 12 Trios (or Duets) arranged for Violin, Viola and Cello, based on melodies of beloved traditional christian hymns. Melodies are harmonized mostly by interweaving counter melodies. The Violin and Viola (or Violin II) are, at times, alternating melody and counter melodies, rather than the traditional vocal parts found in church hymnals. The result is a more interweaving flow of melody and counter melody. The Cello provides the bass, as it also contributes to the counter melodious sound. A Violin II part has been added to duplicate the Viola, in case a Viola is not available. These pieces also work very nicely as duets without the Cello; or duets with the Violin and Cello. Designed for early intermediate musicians, the collection is ideal for prelude or postlude music and especially offertories in worship services, funerals, weddings, etc . Length of the pieces can be altered by using more or less of the repeats included. The last two pieces are based on melodies from Christmas hymns. In addition, these pieces have a technical training value, as would etudes and exercises, due to the moving counter melodies that may challenge students at the early intermediate level. Though written to challenge students at the early intermediate level, more advanced musicians and audiences will find this music quite satisfying to play and enjoy, respectively. String class teachers may consider using this collection in class, as the entire Violin, Viola or Cello sections will be in unison, as a section, which provides support to players within their section. At same time, the other sections would be playing other parts, also in unison as a section - a good ensemble practice tool. The class might perform pieces from this collection in concert. Titles: Count Your Blessings, I Must Tell Jesus, In the Garden, Jesus Loves Even Me, Let All Things Now Living, O How I Love Jesus, O the Deep, Deep Love of Jesus, Take Time to be Holy, The Old Rugged Cross, This is My Father's World; and two Christmas pieces: It Came Upon a Midnight Clear and Silent Night! Holy Night!
$12.99 ≈
11.99€
Rather Be String Trio
Rather Be String Trio
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE
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Rock
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Clean Bandit
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Jose Quintana
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Rather Be String Trio
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Jose Quintana
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SheetMusicPlus
String Trio - Intermediate - By Clean Bandit. Arranged by Jose Quintana. Score, Set of Parts. 14 pages. Published by Jose Quintana...
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String Trio - Intermediate - By Clean Bandit. Arranged by Jose Quintana. Score, Set of Parts. 14 pages. Published by Jose Quintana
$19.99 ≈
18.45€
Rather Be - Clean Bandit - String Quartet, Trio, Duo or Solo Violin
Rather Be - Clean Bandit - String Quartet, Trio, Duo or Solo Violin
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
#
Rock
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Clean Bandit
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Thomas Winter
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Rather Be - Clean Bandit - Str
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Thomas Winter
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SheetMusicPlus
Violin, Viola, Cello, String Duet, String Trio, String Quartet - Intermediate - By Clean Bandit. Arranged by Thomas Winter. Score, Set of Parts. 9 p...
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Violin, Viola, Cello, String Duet, String Trio, String Quartet - Intermediate - By Clean Bandit. Arranged by Thomas Winter. Score, Set of Parts. 9 pages. Published by Thomas Winter
An energizing wedding-appropriate tune with a famous violin introduction, Rather Be is a must-have for the modern wedding string ensemble.
Unless otherwise specified, all Thomas Winter arrangements work for string quartet, trio, duo or solo violin.
$14.99 ≈
13.83€
Legende arr for string quartet
Legende arr for string quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Henri Wieniaswski
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David F Wainwright
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Legende arr for string quartet
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D F Wainwright
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.1472827 Composed by Henri Wieniaswski. Arranged by David F Wainwright. 19th Century...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.1472827 Composed by Henri Wieniaswski. Arranged by David F Wainwright. 19th Century,Chamber,Classical. 17 pages. D F Wainwright #1050459. Published by D F Wainwright (A0.1472827). In 2001 the Spring Quartet was invited to give a series of concerts and schools workshops in Barbados. At the time our leader, Emily (then 15 years old) was studying the Wieniawski Legende so I scored it out for the Quartet, or rather the trio to accompany her solo. The arrangement has lain quietly on the computer since then but I thought there may be others who would appreciate the chance to play the arrangement so here it is.
$21.99 ≈
20.30€
Minuet For Margaret, for Strings. (School Arrangement)
Minuet For Margaret, for Strings. (School Arrangement)
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
#
Geraldine
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Minuet For Margaret, for Strin
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Geraldine
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1298412 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Parts. 52 pages. Ge...
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String Orchestra - Level 4 - SKU: A0.1298412 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Parts. 52 pages. Geraldine (Denny) Green at Oakmountmusic #888401. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1298412). ALL PURCHASES COME WITH SCORE AND PARTSWhen I was a young child and I would ask my mother for something she would often, in the midst of all her busy jobs, say to me, “Oh, give me a minuet!â€, meaning jokingly a minute, of course, before she could tend to my wishes.  This meant that I grew up believing that a minuet and a minute meant the same thing and could be equally interchanged. You can then imagine my amazement and amusement at around 13/14 years of age when I discovered through my music studies that a minuet was in fact a type of musical form and dance! Therefore, it went without saying that at some point in my music writing life I just HAD to write my Mum a minuet! So, here is the minuet she so often unwittingly asked me for throughout our lives! She attended the premiere of the Flute, violin and piano arrangement in Bolton, UK, and was highly amused (and not a little chuffed) by the story behind the piece!Naturally, the piece is dedicated to my mother, Margaret (Pearl) Denny, and was finally written in June 2015 for Gary Woolf and the Banda Di Musica in Germany.Its duration is about 7/8 minutes long and it is intended for junior strings. Violins 1 and 2 are of moderate difficulty, while the Violin 3/violas, cellos/basses are simpler.There is a violin solo throughout (moderate difficulty), to be played by the Leader, but is not a concerto-style solo, but rather one that weaves in and out of the texture throughout the piece.The piece is in a minuet and Trio style and is light, tuneful and fun. There are 3 arrangements available:No.1 – School Arrangement: Violins 1, 2 and 3, Cellos 1 and 2No.2 – Standard Arrangement: Violins 1 and 2, violas, cellos, Double bassesNo.3 – Violin, flute and piano.  This arrangement is of a more advanced standard than the string orchestra arrangements and would suit players of approximately grade 7 upwards.
$25.00 ≈
23.07€
Minuet For Margaret, for Strings. (Standard Arrangement)
Minuet For Margaret, for Strings. (Standard Arrangement)
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Geraldine
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Minuet For Margaret, for Strin
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Geraldine
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1298413 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Parts. 53 pages. Ge...
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String Orchestra - Level 4 - SKU: A0.1298413 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Parts. 53 pages. Geraldine (Denny) Green at Oakmountmusic #888402. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1298413). ALL PURCHASES COME WITH SCORE AND PARTSWhen I was a young child and I would ask my mother for something she would often, in the midst of all her busy jobs, say to me, “Oh, give me a minuet!â€, meaning jokingly a minute, of course, before she could tend to my wishes.  This meant that I grew up believing that a minuet and a minute meant the same thing and could be equally interchanged. You can then imagine my amazement and amusement at around 13/14 years of age when I discovered through my music studies that a minuet was in fact a type of musical form and dance! Therefore, it went without saying that at some point in my music writing life I just HAD to write my Mum a minuet! So, here is the minuet she so often unwittingly asked me for throughout our lives! She attended the premiere of the Flute, violin and piano arrangement in Bolton, UK, and was highly amused (and not a little chuffed) by the story behind the piece!Naturally, the piece is dedicated to my mother, Margaret (Pearl) Denny, and was finally written in June 2015 for Gary Woolf and the Banda Di Musica in Germany.Its duration is about 7/8 minutes long and it is intended for junior strings. Violins 1 and 2 are of moderate difficulty, while the Violin 3/violas, cellos/basses are simpler.There is a violin solo throughout (moderate difficulty), to be played by the Leader, but is not a concerto-style solo, but rather one that weaves in and out of the texture throughout the piece.The piece is in a minuet and Trio style and is light, tuneful and fun. There are 3 arrangements available:No.1 – School Arrangement: Violins 1, 2 and 3, Cellos 1 and 2No.2 – Standard Arrangement: Violins 1 and 2, violas, cellos, Double bassesNo.3 – Violin, flute and piano.  This arrangement is of a more advanced standard than the string orchestra arrangements and would suit players of approximately grade 7 upwards.
$25.00 ≈
23.07€
String Trio in F(III)
String Trio in F(III)
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Trio à Cordes: violon, alto, violoncelle
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Contemporain
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Stefan Perry
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String Trio in F(III)
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Stefan Perry
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SheetMusicPlus
String Ensemble,String Trio - SKU: A0.1027985 Composed by Stefan Perry. Contemporary. Score and parts. 4 pages. Stefan Perry #3121647. Published by Stef...
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String Ensemble,String Trio - SKU: A0.1027985 Composed by Stefan Perry. Contemporary. Score and parts. 4 pages. Stefan Perry #3121647. Published by Stefan Perry (A0.1027985). This String Trio has been written for general performance and above all for the pleasure of the performer. I am aiming for maximum flexibility for the performers. All written dynamics are not to be taken too literally. Never think too much about volume (eg pianissimo is quiet and forte is loud), but rather think about the application of the bow (as in softer bowing for pianissimo passages and stronger/heavy bowing for forte passages)and think of the rising and falling dynamics as breathing. Also there are no specific bowings (accept for a down bow at the beginning of each movement). I will leave that to the discretion of the performers so they can decide what works best for their playing styles and technical possibilities (there is no need to follow slurs to the letter providing the slurred passages are smooth as I intend). One more thing is that the software I used doesn't make key changes as visible as I like so I have written a note to indicate said key changes. I hope anyone who plays this receives maximum enjoyment from my composition. Happy music making!
$3.00 ≈
2.77€
String Trio in F(II)
String Trio in F(II)
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Trio à Cordes: violon, alto, violoncelle
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Contemporain
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Stefan Perry
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String Trio in F(II)
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Stefan Perry
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SheetMusicPlus
String Ensemble,String Trio - SKU: A0.1027984 Composed by Stefan Perry. Contemporary. Score and parts. 2 pages. Stefan Perry #3121645. Published by Stef...
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String Ensemble,String Trio - SKU: A0.1027984 Composed by Stefan Perry. Contemporary. Score and parts. 2 pages. Stefan Perry #3121645. Published by Stefan Perry (A0.1027984). This String Trio has been written for general performance and above all for the pleasure of the performer. I am aiming for maximum flexibility for the performers. All written dynamics are not to be taken too literally. Never think too much about volume (eg pianissimo is quiet and forte is loud), but rather think about the application of the bow (as in softer bowing for pianissimo passages and stronger/heavy bowing for forte passages)and think of the rising and falling dynamics as breathing. Also there are no specific bowings (accept for a down bow at the beginning of each movement). I will leave that to the discretion of the performers so they can decide what works best for their playing styles and technical possibilities (there is no need to follow slurs to the letter providing the slurred passages are smooth as I intend). One more thing is that the software I used doesn't make key changes as visible as I like so I have written a note to indicate said key changes. I hope anyone who plays this receives maximum enjoyment from my composition. Happy music making!
$3.00 ≈
2.77€
String Trio in F(I)
String Trio in F(I)
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Trio à Cordes: violon, alto, violoncelle
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Contemporain
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Stefan Perry
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String Trio in F(I)
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Stefan Perry
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SheetMusicPlus
String Ensemble,String Trio - SKU: A0.1027981 Composed by Stefan Perry. Contemporary. Score and parts. 4 pages. Stefan Perry #3121641. Published by Stef...
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String Ensemble,String Trio - SKU: A0.1027981 Composed by Stefan Perry. Contemporary. Score and parts. 4 pages. Stefan Perry #3121641. Published by Stefan Perry (A0.1027981). This String Trio has been written for general performance and above all for the pleasure of the performer. I am aiming for maximum flexibility for the performers. All written dynamics are not to be taken too literally. Never think too much about volume (eg pianissimo is quiet and forte is loud), but rather think about the application of the bow (as in softer bowing for pianissimo passages and stronger/heavy bowing for forte passages)and think of the rising and falling dynamics as breathing. Also there are no specific bowings (accept for a down bow at the beginning of each movement). I will leave that to the discretion of the performers so they can decide what works best for their playing styles and technical possibilities (there is no need to follow slurs to the letter providing the slurred passages are smooth as I intend). One more thing is that the software I used doesn't make key changes as visible as I like so I have written a note to indicate said key changes. I hope anyone who plays this receives maximum enjoyment from my composition. Happy music making!
$3.00 ≈
2.77€
Rather Be
Rather Be
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Clean Bandit Feat
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Joe Deninzon
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Rather Be
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Fiddlefunk Music
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.1182342 By Clean Bandit Feat. Jess Glynne. By Grace Chatto, Jack Patterson, James N...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.1182342 By Clean Bandit Feat. Jess Glynne. By Grace Chatto, Jack Patterson, James Napier, and Nicole Marshall. Arranged by Joe Deninzon. Disco,Pop,Rock. Score and parts. 22 pages. Fiddlefunk Music #782087. Published by Fiddlefunk Music (A0.1182342). Hit song from 2015 written for string trio. Includes score, violin I, interchangeable violin II/viola, and cello parts. Have fun!
$14.99 ≈
13.83€
Minuet For Margaret. (Flute, Violin and Piano Arrangement)
Minuet For Margaret. (Flute, Violin and Piano Arrangement)
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Geraldine
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Minuet For Margaret.
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Geraldine
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SheetMusicPlus
Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.1298596 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Class...
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Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.1298596 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Classical. 32 pages. Geraldine (Denny) Green at Oakmountmusic #888475. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1298596). ALL PURCHASES COME WITH SCORE AND PARTSWhen I was a young child and I would ask my mother for something she would often, in the midst of all her busy jobs, say to me, “Oh, give me a minuet!â€, meaning jokingly a minute, of course, before she could tend to my wishes.  This meant that I grew up believing that a minuet and a minute meant the same thing and could be equally interchanged. You can then imagine my amazement and amusement at around 13/14 years of age when I discovered through my music studies that a minuet was in fact a type of musical form and dance! Therefore, it went without saying that at some point in my music writing life I just HAD to write my Mum a minuet! So, here is the minuet she so often unwittingly asked me for throughout our lives! She attended the premiere of the Flute, violin and piano arrangement in Bolton, UK, and was highly amused (and not a little chuffed) by the story behind the piece!Naturally, the piece is dedicated to my mother, Margaret (Pearl) Denny, and was finally written in June 2015 for Gary Woolf and the Banda Di Musica in Germany.Its duration is about 7/8 minutes long and it is intended for junior strings. Violins 1 and 2 are of moderate difficulty, while the Violin 3/violas, cellos/basses are simpler.There is a violin solo throughout (moderate difficulty), to be played by the Leader, but is not a concerto-style solo, but rather one that weaves in and out of the texture throughout the piece.The piece is in a minuet and Trio style and is light, tuneful and fun. There are 3 arrangements available:No.1 – School Arrangement: Violins 1, 2 and 3, Cellos 1 and 2No.2 – Standard Arrangement: Violins 1 and 2, violas, cellos, Double bassesNo.3 – Violin, flute and piano.  This arrangement is of a more advanced standard than the string orchestra arrangements and would suit players of approximately grade 7 upwards.Â
$21.00 ≈
19.38€
Winter, from Vivaldi's 4 Seasons, for String, Woodwind, or Mixed Trio
Winter, from Vivaldi's 4 Seasons, for String, Woodwind, or Mixed Trio
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Classique
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Antonio Vivaldi
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Ray Kamada
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clarinet or violin or viola
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Winter, from Vivaldi's 4 Seaso
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The Lone Arranger
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SheetMusicPlus
Small Ensemble Bassoon,Cello,Clarinet,Flute,Viola,Violin - Level 3 - SKU: A0.757326 Composed by Antonio Vivaldi. Arranged by Ray Kamada. Baroque,Christm...
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Small Ensemble Bassoon,Cello,Clarinet,Flute,Viola,Violin - Level 3 - SKU: A0.757326 Composed by Antonio Vivaldi. Arranged by Ray Kamada. Baroque,Christmas,Standards,Wedding. Score and parts. 42 pages. The Lone Arranger #3114127. Published by The Lone Arranger (A0.757326). Arranged for trios consisting of flute or violin; clarinet or violin or viola; and cello or bassoon. This version is flexible in both instrumentation, and as the tremolos may be played as 32nds or 16ths, depending on mood and skill - is suitable for concerts or gigs. This arrangement can also be played as a mixed woodwind/strings quintet. It departs from the original score by sometimes distributing the melody line among the instruments to create a dialog rather than retain the original's solo concerto focus. The Largo's ending was also altered slightly and some cello/bassoon counter-melodies were added to the Largo and Allegro sections.
$8.99 ≈
8.30€
Rather Be - String Trio
Rather Be - String Trio
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Trio à Cordes: violon, alto, violoncelle
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Clean Bandit
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Martin Wray
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Rather Be - String Trio
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Martin Wray
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SheetMusicPlus
By Clean Bandit. Arranged by Martin Wray. Score, Set of Parts. 14 pages. Published by Martin Wray (H0.172689-258681). - Score,Set of Parts - - Martin Wray...
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By Clean Bandit. Arranged by Martin Wray. Score, Set of Parts. 14 pages. Published by Martin Wray (H0.172689-258681). - Score,Set of Parts - - Martin Wray
$15.99 ≈
14.76€
Rather Be
Rather Be
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Trio à Cordes: violon, alto, violoncelle
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AVANCÉ
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Pop musique
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Clean Bandit Feat
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Alison Gillies
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Rather Be
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quartetpad.com
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SheetMusicPlus
By Clean Bandit Feat. Jess Glynne. By Grace Chatto, Jack Patterson, James Napier, and Nicole Marshall. Arranged by Alison Gillies. Disco, Pop, Wedding...
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By Clean Bandit Feat. Jess Glynne. By Grace Chatto, Jack Patterson, James Napier, and Nicole Marshall. Arranged by Alison Gillies. Disco, Pop, Wedding. Score and parts. 14 pages. Quartetpad.com #699953. Published by quartetpad.com
$16.99 ≈
15.68€
Sway With Me
Sway With Me
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Various
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Des McNutty
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Sway With Me
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Des Press
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1249722 By Various. By Adam Small, Diamonte Harper, Jacob Uchorczak, Luis Demetrio ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1249722 By Various. By Adam Small, Diamonte Harper, Jacob Uchorczak, Luis Demetrio Molina, Luis Traconis Molina, Mich Hansen, Michael Pollack, Mitch Hansen, Mitchell Hansen, Norman Gimbel, Pablo Rosas Rodriguez, Pablo Ruiz, Quavious Marshall, Randall Hammers, Tia Scola, and etc. Arranged by Des McNutty. Film/TV,Jazz,Latin. 15 pages. Des Press #844113. Published by Des Press (A0.1249722). Sway With Me was written for Mexican singer Pedro Infante but first recorded in 1953 as an instrumental Cha-Cha-Cha ¿Quién será? (Who Will Be?) by its Mexican composers Luis Demetrio and Pablo Beltrán Ruiz. Infante sang it in the film School for Tramps (1954). The version on which this arrangement is based was recorded by Dean Martin and the Dick Stabile Orchestra in 1954, with new lyrics in English completely rewritten by Norman Gimbel from the rather melancholy original in Spanish. Sway With Me has remained popular and been subsequently recorded by numerous artists in several styles. This arrangement for string quartet is a relatively straight-forward idiomatic transcription in the same tonality as the original recording, so you could even play along with it for fun. The level is on the easier side of “advancedâ€; quickly rehearsed by professional quartets and an accessible challenge for experienced students.Enjoy!
$12.99 ≈
11.99€
Sweet Baby James
Sweet Baby James
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Country
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Folk Rock
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James Taylor
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Jen Mathers
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Sweet Baby James
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Jen Mathers
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.1296274 By James Taylor. By James Taylor. Arranged by Jen Mathers. Country,Folk,Pop. 4 pages. Jen Math...
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String Quartet String Quartet - Level 3 - SKU: A0.1296274 By James Taylor. By James Taylor. Arranged by Jen Mathers. Country,Folk,Pop. 4 pages. Jen Mathers #886516. Published by Jen Mathers (A0.1296274). Sweet Baby James by James Taylor, a folk-country tune arranged for string quartet.Violin 1 plays the tune throughout, and the cello part is a basic bass line, so it can be used as a really simple duet. It works okay as a trio as well though it will definitely lack some key harmonies - may sound a little better using the Violin 2 part rather than Viola.My string arrangements are faithful to the original song, with ample rehearsal letters, minimal bowings, and only minor adjustments to pop melodies to facilitate playing and sightreading. Parts are error-free, tested and enjoyed by professional musicians at weddings and private events.
$15.99 ≈
14.76€
Funny Like a Monkey for piano quartet
Funny Like a Monkey for piano quartet
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Piano Quatuor: piano, violon, alto, violoncelle
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AVANCÉ
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Contemporain
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Robert M
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Funny Like a Monkey for piano
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Robert M. Greenberg
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SheetMusicPlus
Piano Quartet,String Ensemble - Level 5 - SKU: A0.987845 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 105 pages. Robert ...
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Piano Quartet,String Ensemble - Level 5 - SKU: A0.987845 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 105 pages. Robert M. Greenberg #90267. Published by Robert M. Greenberg (A0.987845). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: movement 1: https://www.youtube.com/watch?v=abie7jcHVA0 movement 2: https://www.youtube.com/watch?v=b__yWnl7LcU movement 3: https://www.youtube.com/watch?v=_8V3g4AC0eM Duration: ca. 17 minutes Year of composition: 2001 Program Note: I. Knock Yourself Out II. Flutterby III. Morph (with apologies to J. B.) Funny Like a Monkey is one of the many phrases coined by my then 16 year-old daughter in order to address the actions and well-intended attempts at humor by both her younger brother and her hopelessly antiquated father. What I love about these phrases – of which Funny Like a Monkey is but one of many – is their use of nonsequitur elevated to high verbal art. They are at once biting and humorous, and are filled with the sort of over-the-top verbal bravado that only a teenager, as the self-acknowledged epitome of hip, can get away with. Though Funny Like a Monkey is scored as a traditional piano quartet, it is in reality composed for string trio PLUS piano. Along with being part of the larger ensemble, the piano has a featured role in the piece: it is narrator, commentator, curmudgeon, critic, and emcee, as it introduces and comments upon the relative merits of the musical materials that comprise the work. The first movement is entitled Knock Yourself Out. The movement’s energy and exuberance, as well as its mercurial-shift-on-a-dime nature is a rather personal reference to the dedicatee. The second movement is entitled Flutterby. A spoonerism created (or at least favored) by my daughter, the reference is to a sort of macro- butterfly, a mega-mariposa, if you will, one of extraordinary beauty and delicacy that floats and drifts and shimmers in some imagined place. The third movement, Morph, With Apologies to J.B. refers to the rather obvious fact that the music keeps morphing in and out of the finale of Johannes Brahms’ (J.B.’s) Piano Quartet in G Minor, Op. 25. I’m crazy about Brahms’ piano quartets, and I have surrendered to the urge to mess with his pitch collections and thematic motives. The movement, with its musical puns, metamorphoses, and attempts at humor, is a perfect example of what might be referred to as funny like a monkey. Funny . . . is dedicated, with love, to Rachel Amy Greenberg on the occasion of her 16th birthday.
$36.00 ≈
33.23€
Music From Around The World - Solo and Ensemble
Music From Around The World - Solo and Ensemble
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Violon
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FACILE
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Donald Miller
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Music From Around The World -
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
By Donald Miller. For Violin. World Music. 40 pages. Published by Mel Bay Publications - Digital Sheet Music ...
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By Donald Miller. For Violin. World Music. 40 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619111479. Many selections in this volume are unique and until now have been inaccessible to the string ensemble repertoire. These pieces are intended for multiple strings for performance in the classroom as well as performance in concerts. Several players may be used on each part. Whenever possible, every effort was made to keep the viola and violoncello/double bass parts melodic rather than simply filling in the various harmonic chord progressions. The pieces may be performed as a solo for each instrument (Violin 1, Violin 2, Viola or Cello) with piano accompaniment, or as duets or trios, as well as full orchestra. If performed with full orchestra, the piano accompaniment is not necessary. The string ensemble series meets all standards for ASTA with NSOA (American String Teachers Association/National School Orchestra Association) and Suzuki Association of the Americas, Inc.
$9.99 ≈
9.22€
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 ≈
22.14€
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Rather Be String Trio Violin, Viola, Cello
