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Vous avez sélectionné:
SCALES FOR VIOLA
Partitions à imprimer
408 partitions trouvées
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Fabrizio Ferrari: Advanced Scales & Arpeggios instantly for viola solo
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Alto seul
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INTERMÉDIAIRE/AVANCÉ
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Folklorique/Traditionel
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Fabrizio Ferrari
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Virtualsheetmusic
This is an exclusive transcription for viola solo of MEDIUM/HIGH skill level from the original composition by Fabrizio Ferrari. This title is available as instant sheet music download. Contents: scale, gammes, games, arpeggi, harpeggios,high positions, exercises, exercices, esercizi, exersices, adva...
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This is an exclusive transcription for viola solo of MEDIUM/HIGH skill level from the original composition by Fabrizio Ferrari. This title is available as instant sheet music download. Contents: scale, gammes, games, arpeggi, harpeggios,high positions, exercises, exercices, esercizi, exersices, advanced, intermediate, method, scales etude, scales studies,study, etudes, studies, study / traditional,classical,contemporary,instructional
$6.99 ≈
6.44€
Fabrizio Ferrari: Elementary Scales & Arpeggios for viola solo
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Alto seul
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FACILE
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Fabrizio Ferrari
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Virtualsheetmusic
This is an exclusive transcription for viola solo of EASY skill level from the original composition by Fabrizio Ferrari. This title is available as instant sheet music download. Contents: scale, gammes, games, arpeggi, harpeggios,first position, exercises, exercices, esercizi, exersices, beginner, m...
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This is an exclusive transcription for viola solo of EASY skill level from the original composition by Fabrizio Ferrari. This title is available as instant sheet music download. Contents: scale, gammes, games, arpeggi, harpeggios,first position, exercises, exercices, esercizi, exersices, beginner, method, scales etude, scales studies,study, etudes, studies, study / contemporary,instructional,children
$6.99 ≈
6.44€
Progressive Scale Studies for Viola
Progressive Scale Studies for Viola
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Alto seul
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INTERMÉDIAIRE
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Methodes Etudes
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John Bauer
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Progressive Scale Studies for
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Viola - Intermediate - Composed by John Bauer. Technique, Theory and Reference. Style. E-book. 104 pages. Mel Bay Publications - Digital Sheet Music...
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Viola - Intermediate - Composed by John Bauer. Technique, Theory and Reference. Style. E-book. 104 pages. Mel Bay Publications - Digital Sheet Music #96745EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619116931. 8.75 x 11.75 inches.
This progressive scale system coordinates basic concepts from elementary to advanced scales in preparation for the Scale System by Carl Flesch. In some aspects it goes beyond the scope of the Flesch system. One-octave scales are introduced in patterns with emphasis on half steps and finger retention. The two-octave scale patterns are non-shifting. Three-octave scales are offered with traditional and modern fingerings. The double stop scales vary in fingerings in order to teach the basic concepts of double-stops. Harmonics are included beyond the scope of the Flesch system, in a basic form including natural harmonics.
$17.99 ≈
16.58€
Korsakov: Flight of the Bumblebee for Viola & Piano
Korsakov: Flight of the Bumblebee for Viola & Piano
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Alto, Piano
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AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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James M
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Korsakov: Flight of the Bumble
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Peri...
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Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95 ≈
30.37€
SCALES FOR VIOLA
SCALES FOR VIOLA
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Wohlfart, Campagnoli, Mazas, B
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Violin Friends
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SCALES FOR VIOLA
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Suomi Music
#
SheetMusicPlus
String Ensemble Cello,Double bass,Viola - Level 1 - SKU: A0.1435941 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arrang...
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String Ensemble Cello,Double bass,Viola - Level 1 - SKU: A0.1435941 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by Violin Friends. Chamber,Children,Classical,Instructional,Romantic Period. Educational Exercises. 138 pages. Suomi Music #1016108. Published by Suomi Music (A0.1435941). Let’s Play Scales as Duets For Viola is a fun collection of scales compiled from some of the most important Violin Method Books written by famous violinist and teachers in France, Germany, Italy, Belgium and Czech Republic.Explore the time-honored tradition of viola instruction with this comprehensiveassortment of scales, sourced from esteemed violin method books in Europeanviolin pedagogy. Let’s Play Scales as Duets For Viola offers a curated selection of ’ scale exercises presented in a collaborative duet format.Let’s Play Scales as Duets For Viola provides a valuable resource for students and educators alike. Each duet is thoughtfully designed to promote intonation, musical phrasing, and listening skills through the shared experience of making music together. Moreover, each scale can be practiced in the classroom but also suits performance, adding versatility to your repertoire.The scales have been carefully selected and arranged from the following publications: Easiest elementary Method for Beginners, Op. 38 by Franz Wohlfart (1875) Méthode de Violin by Jaques Féreol Mazas (1832) Méthode de Violon, Op. 102 by Charles de Bériot (1857) Metodo elementare e progressivo per Violino, Op. 55 di Carlo Dancla (1852) Méthode de Violon by Ferdinand Kuechler (1910) Violin School for Beginners, Op.6 by Otakar Sevcik (1903) Méthode de Violon by Baillot, Rode et Kreutzer (ca.1835) Nouvelle Méthode de la Mécanique progressive du Jeu de Violon by Bartolomeo Campagnoli (1827) Let’s Play Scales as Duets by Violin Friends is available for 2 violins, 2 violas and 2 cellos.Total number of scales: 75Printable pages: 138.
$19.99 ≈
18.43€
Sonata in a Simple Scale for Viola and Piano
Sonata in a Simple Scale for Viola and Piano
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Alto, Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Daniell Mattern
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Sonata in a Simple Scale for V
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Daniell Mattern
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SheetMusicPlus
Piano,Viola - Level 4 - SKU: A0.1032818 Composed by Daniell Mattern. Contemporary. Score and part. 58 pages. Daniell Mattern #5721229. Published by Dani...
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Piano,Viola - Level 4 - SKU: A0.1032818 Composed by Daniell Mattern. Contemporary. Score and part. 58 pages. Daniell Mattern #5721229. Published by Daniell Mattern (A0.1032818). Sonata in a Simple Scale for Viola and PianoThe Simple Scale of the title is a series of alternating whole steps and half steps. There are three versions; any particular note will belong to two of the three. Thus, the two scales that include C go up either a whole step from C (C D Eb F F#…) or a half step (C C# D# E F#…); the third scale excludes C entirely (B C# D E F…). These scales allow for a variety of melodies, which often take on a modal character, and familiar chords, including major, minor, and diminished.Although the scale is simple, the Sonata is not for elementary players. The viola range goes to the C two octaves above middle C and there are occasional double and triple stops and stopped harmonics, and frequent meter changes. Also, the unusual scale does not fit the standard fingering patterns for either instrument. That said, the sonata is intended to be enjoyable for proficient, rather than virtuosic, players.In the introduction to the Sonata-Allegro movement, the viola explores motives and intervals, with subtle embellishment from the piano. These phrases build to a three-octave descending presentation of the simple scale; a trill then leads into the main theme. The piano sets up a jaunty accompaniment pattern, over which the viola plays the theme in measure-long segments. The second theme is a long, legato line in the viola that spans two octaves. The viola then sets up a two-measure ostinato, joined by a lumbering piano bass, before the piano treble floats on top with a melancholy closing theme. The development section plays mostly with the main theme, shifting meters as the two instruments engage in dialog. A bridging trill takes us into the recapitulation, but now the viola plays the jaunty accompaniment pattern, and the piano has the main theme. After the return of the second theme, varied in its accompaniment, the piano presents the ostinato of the closing theme, and the viola takes the melody, leading to a quiet and playful finish.In the second movement (Song), the piano begins a slow, rather dark theme, joined by the viola, and ending in a rising question that leads into the second section. Presented simply by the viola, this lilting 7/8 theme has a folk-song quality. It is repeated and embellished several times before the first theme returns, ending in a loud and angry exclamation.The Scherzo is a 6/8 whirlwind. The viola presents rapid repeated notes punctuated with three rising or falling notes; the piano enters gradually until both are giving a forceful statement. In the middle section, the viola sets up a whirling pattern with a drone, while the piano plays a dark version of the closing theme from the first movement. The first theme returns and the movement gallops to a rapid finish.The Rondo begins with an introduction that explores octaves and trills, leading into the main theme, with slightly dissonant 4/4 viola measures alternating with 7/8 answers in the piano. Bridging measures in 5/8 take us into a relaxed, waltz-like interlude of solo viola. A fast section with a touch of fugato follows, with the main theme presented in diminution by the viola at the end. This leads into a second interlude, this one exploring octaves, trills, and clusters in unmetered fragments that the instrumentalists play at their own tempos. The viola then emerges with a confident new theme, joined after a while by the piano. The main theme then returns in a rollicking 3/4 version that brings the piece to a close.
$8.00 ≈
7.37€
Advanced Viola Scale Studies
Advanced Viola Scale Studies
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Alto seul
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INTERMÉDIAIRE
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Advanced Viola Scale Studies
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Viola - Intermediate - SKU: M0.31154EB Technique. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #31154EB. Published by Mel Bay Publicatio...
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Viola - Intermediate - SKU: M0.31154EB Technique. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #31154EB. Published by Mel Bay Publications - Digital Sheet Music (M0.31154EB). ISBN 9781513473901. 8.75X11.76 inches.Practicing scales is essential to building and maintaining strength, technique, tone, and agility on the viola, but it is easy to slip into the habit of playing scales automatically, without paying attention to tonality or sound production. The 29 single-page studies in this book focus the attention of violists on the beauty of sound, with a particular concern for the way different keys resonate on the viola.The first 24 studies address all minor and relative major keys and proceed through the circle of fifths; the last 5 pieces are individually conceived, i.e., apart from the circle of fifths. No metronome indications are given, so the etudes can be played at individually comfortable tempos.The names of the etudes refer to various animals that have scales, including insects, fish, birds, reptiles, and a few species of mammals. The author hopes that in addition to experiencing more enjoyable scale practice, students will be inspired to learn more about these amazing creatures and write scale studies of their own.
Song List
: Red-Tailed Boa (A minor) Green Iguana (C major) Saw-Scaled Viper (E minor) Red Factor Canary (G major) Funereal Dusky-Wing Butterfly (B minor) American Crocodile (D major) Gorgon Copper Butterfly (F-sharp minor) Steller's Sea Eagle (A major) Lembert's Green Hairstreak (C-sharp minor) Lord Darby's Scaly-Tailed Squirrel (E major) Giant Pangolin (G-sharp minor) Freshwater Crocodile (B major) Blowfish (D-sharp minor) Cuban Crocodile (F-sharp major) Rainbow Sardine (B-flat minor) Musky Rat-Kangaroo (D-flat major) Great White Shark (F minor) Blue Scaled Quail (A-flat major) Brahminy Blind Snake (C minor) Tokay Gecko (E-flat major) Neon Damselfish (G minor) Pel's Flying Squirrel (B-flat major) Cloudless Sulphur Butterfly (D minor) Cameroon Scaly Tail Squirrel (F major) Sanford's Sea Eagle (A-flat major) False Coral Snake (D minor) Black-Bellied Pangolin (G minor) Round Sardinella (B-flat major) Northern Bobwhite (A major
$12.99 ≈
11.97€
The C Major Scale Book for Viola
The C Major Scale Book for Viola
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Alto seul
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INTERMÉDIAIRE
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Methodes
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Methodes Etudes
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Cassia Harvey
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The C Major Scale Book for Vio
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Cassia Harvey
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SheetMusicPlus
Viola - Intermediate - Composed by Cassia Harvey. Method, Etudes and Exercises, General Instructional, Technique Training. 31 pages. Published by Ca...
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Viola - Intermediate - Composed by Cassia Harvey. Method, Etudes and Exercises, General Instructional, Technique Training. 31 pages. Published by Cassia Harvey
The C Major Scale Book for Viola gives you 26 ways to learn, perfect, and use a 3-octave C major scale.
Perfect for students that have just started playing three-octave scales on the viola,this book uses shifting exercises, slur patterns, rhythms, and more to help you master this important scale.
Who this book can help: Intermediate and early-advanced violists who are ready to perfect the C major scale.
How to use this book: Play one page a day as part of your practice regimen, after finger exercises.
$8.95 ≈
8.25€
Piano Part for Viola Friends Viola Method Book 3
Piano Part for Viola Friends Viola Method Book 3
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Alto, Piano
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INTERMÉDIAIRE
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Traditional
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Lauri Hamalainen
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Piano Part for Viola Friends V
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Suomi Music
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.1318265 Composed by Traditional. Arranged by Lauri Hamalainen. Chamber,Children,Classical,Instructional,Traditional. Sco...
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Piano,Viola - Level 3 - SKU: A0.1318265 Composed by Traditional. Arranged by Lauri Hamalainen. Chamber,Children,Classical,Instructional,Traditional. Score and part. 96 pages. Suomi Music #906939. Published by Suomi Music (A0.1318265). Piano Part for Viola Friends Viola Method Book 333 Simplified Piano PartsViola Friends Method Book Volume 3 is a fun and colorful collection of great music for the advanced viola player presenting music from J.S.Bach, G.Tartini, H.Purcell, R.Glinka, E.Elgar, F.Gossec, G.F.Handel, W.A.Mozart, L.van Beethoven, A.Dvorak, P.Tchaikovsky, and N.Baklanova.Viola Friends 3 is the third part of the Viola Friends family of music books. The repertoire and exercises in volume 3 use shifting and playing music in the 3rd position, scales on one string, etudes by F.Wohlfart, bowing exercises by O.Sevcik, and double-stops from J. Trott and J.S.Bach.All Viola Friends music is easily learnable with the help of simplified piano parts, Youtube play- along videos on the Violin Friends Youtube channel, and mp3 backing tracks on SoundCloud and the Violin Friends homepage www.violinfriends.com.
$29.90 ≈
27.56€
Loeillet: Six Sonatas Op. 5 No. 2 Complete for Viola Duo
Loeillet: Six Sonatas Op. 5 No. 2 Complete for Viola Duo
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2 Altos (duo)
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FACILE
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Jean Baptiste Loeillet of Ghen
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James M
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Loeillet: Six Sonatas Op. 5 No
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jmsgu3
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SheetMusicPlus
Viola Duet Viola - Level 2 - SKU: A0.612850 Composed by Jean Baptiste Loeillet of Ghent (1688 – 1720). Arranged by James M. Guthrie. Baroque,Cont...
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Viola Duet Viola - Level 2 - SKU: A0.612850 Composed by Jean Baptiste Loeillet of Ghent (1688 – 1720). Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional,Wedding. Score. 59 pages. Jmsgu3 #222046. Published by jmsgu3 (A0.612850). John Baptist Loeillet, a Flemish Baroque composer, wrote six sonatas for flute and basso continuo in his Op. 5 No. 2. This work is widely considered to be some of his most significant compositions, and they are still performed today.The sonatas are divided into three movements each, with two slow movements and one faster one. The flute part is very demanding, as Loeillet often wrote in the high register, and the accompanying basso continuo part provides a solid foundation for the piece. The music has an emotional intensity that was characteristic of the Baroque era, and it features various ornamentations, like trills and mordents. The influence of Corelli can be heard in the contrapuntal textures, and the melodic lines are often based on the scales and modes of the period.Loeillet's Op. 5 No. 2 is a beautiful and captivating work, and its timelessness is a testament to its quality. It has been transcribed and adapted for other instruments, and it remains a popular choice for many classical musicians.Contents:Sonata No. 1 Duration: 9:45 Score: 8 pages 1. Vivace 2. Affetuoso e Poco Vivace 3. Allegro 4. Largo 5. AllegroSonata No. 2 Duration: 16:00, Score: 12 pages 1. La¬rgo 2. Allegro 3. Largo 4. Vivace 5. Vivace 6. Largo 7. GigaSonata No. 3 Duration: 19:20, Score: 14 pages 1. Vivace 2. Largo 3. Gavotto – Allegro 4. Sarabanda 5. Allegro 6. Largo 7. Menuet 8. Giga - AllegroSonata No. 4 Duration: 11:08, Score: 10 pages 1. Vivace 2. Gavott 3. Largo 4. Allegro 5. Sarabanda - Largo 6. AllegroSonata No. 5 Duration: 7:49, Score: 7 pages 1. Largo 2. Allegro 3. Largo 4. GavottSonata No. 6 Duration: 9:42, Score: 8 pages 1. Andante 2. Adagio 3. Allegro 1 4. Allegro 2.
$74.95 ≈
69.09€
SCALES FOR CELLO
SCALES FOR CELLO
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Wohlfart, Campagnoli, Mazas, B
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Violin Friends
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SCALES FOR CELLO
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Suomi Music
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SheetMusicPlus
String Ensemble Cello,Viola,Violin - Level 1 - SKU: A0.1442070 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by...
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String Ensemble Cello,Viola,Violin - Level 1 - SKU: A0.1442070 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by Violin Friends. Chamber,Children,Classical,Instructional,Romantic Period. Educational Exercises. 137 pages. Suomi Music #1022066. Published by Suomi Music (A0.1442070). LET’S PLAY SCALES AS DUETS FOR CELLOLet’s Play Scales as Duets for Cello is a fun collection of scales compiled from some of the most important Violin Method Books written by famous violinist and teachers in France, Germany, Italy, Belgium and Czech Republic.Explore the time-honored tradition of violin instruction with this comprehensiveassortment of scales, sourced from esteemed violin method books in Europeanviolin pedagogy. Let’s Play Scales as Duets for Cello offers a curated selection of scale exercises presented in a collaborative duet format.Let’s Play Scales as Duets for Cello provides a valuable resource for students and educators alike. Each duet is thoughtfully designed to promote intonation, musical phrasing, and listening skills through the shared experience of making music together. Moreover, each scale can be practiced in the classroom but also suits performance, adding versatility to your repertoire.The scales have been carefully selected and arranged from the following publications: Easiest elementary Method for Beginners, Op. 38 by Franz Wohlfart (1875) Méthode de Violin by Jaques Féreol Mazas (1832) Méthode de Violon, Op. 102 by Charles de Bériot (1857) Metodo elementare e progressivo per Violino, Op. 55 di Carlo Dancla (1852) Méthode de Violon by Ferdinand Kuechler (1910) Violin School for Beginners, Op.6 by Otakar Sevcik (1903) Méthode de Violon by Baillot, Rode et Kreutzer (ca.1835) Nouvelle Méthode de la Mécanique progressive du Jeu de Violon by Bartolomeo Campagnoli (1827)Let’s Play Scales as Duets by Violin Friends is available for 2 violins, 2 violas and 2 cellos.Number of Scales: 75Printable pages: 138.
$19.90 ≈
18.34€
SCALES FOR VIOLIN
SCALES FOR VIOLIN
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Wohlfart, Campagnoli, Mazas, B
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Violin Friends
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SCALES FOR VIOLIN
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Suomi Music
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SheetMusicPlus
String Ensemble Cello,Viola,Violin - Level 1 - SKU: A0.1435938 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by...
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String Ensemble Cello,Viola,Violin - Level 1 - SKU: A0.1435938 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by Violin Friends. Chamber,Children,Classical,Instructional,Traditional. Educational Exercises. 138 pages. Suomi Music #1016106. Published by Suomi Music (A0.1435938). Let's Play Scales for String Ensemble and School OrchestraLET’S PLAY SCALES AS DUETS is a fun collection of scales compiled from some of the most important Violin Method Books written by famous violinist and teachers in France,Germany, Italy and Belgium.Explore the time-honored tradition of violin instruction with this comprehensive assortment of scales, sourced from esteemed violin method books in European violin pedagogy. Let’s Play Scales as Duets offers a curated selection of scale exercises presented in a collaborative duet format.Derived from prominent violin method books of France, Germany, Italy, and Belgium, this book provides a valuable resource for students and educators alike. Each duet is thoughtfully designed to promote intonation, musical phrasing, and listening skills through the shared experience of making music together. Moreover, each scale can be practiced in the classroom but also suits performance, adding versatility to your repertoire.The scales have been carefully selected and arranged from the following publications: Easiest elementary Method for Beginners, Op. 38 by Franz Wohlfart (1875) Méthode de Violin by Jaques Féreol Mazas (1832) Méthode de Violon, Op. 102 by Charles de Bériot (1857) Metodo elementare e progressivo per Violino, Op. 55 di Carlo Dancla (1852) Méthode de Violon by Ferdinand Kuechler (1910) Violin School for Beginners, Op.6 by Otakar Sevcik (1903) Méthode de Violon by Baillot, Rode et Kreutzer (ca.1835) Nouvelle Méthode de la Mécanique progressive du Jeu de Violon by Bartolomeo Campagnoli (1827) SCALES AS DUETS by Violin Friends is available for 2 violins, 2 violas and 2 cellos.Total number of scales: 75Printable pages: 138.
$19.99 ≈
18.43€
Donut Etudes vol. 3: Don’t Step in the Holes! – Viola Quartet
Donut Etudes vol. 3: Don’t Step in the Holes! – Viola Quartet
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Alto seul
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Viola Solo - Level 3 - SKU: A0.784339 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288683. Published by Slide Ride ...
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Viola Solo - Level 3 - SKU: A0.784339 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288683. Published by Slide Ride (A0.784339). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00 ≈
4.61€
Viola Friends Method Book 3
Viola Friends Method Book 3
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Alto, Piano
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INTERMÉDIAIRE
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Traditional
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Lauri Hamalainen
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Viola Friends Method Book 3
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Suomi Music
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.1318081 Composed by Traditional. Arranged by Lauri Hamalainen. Chamber,Children,Classical,Instructional,Traditional. Edu...
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Piano,Viola - Level 3 - SKU: A0.1318081 Composed by Traditional. Arranged by Lauri Hamalainen. Chamber,Children,Classical,Instructional,Traditional. Educational Method. 77 pages. Suomi Music #906783. Published by Suomi Music (A0.1318081). VIOLA FRIENDS METHOD BOOK 3Viola Friends Method Book Volume 3 is a fun and colorful collection of great music for the advanced viola player presenting music from J.S.Bach, G.Tartini, H.Purcell, R.Glinka, E.Elgar, F.Gossec, G.F.Handel, W.A.Mozart, L.Beethoven, A.Dvorak, P.Tchaikovsky, and N.Baklanova.Viola Friends 3 is the third part of the Viola Friends family of music books. The repertoire and exercises in volume 3 use shifting and playing music in the 3rd position, scales on one string, etudes by Wohlfart, bowing exercises by Sevcik, and double-stops from J. Trott and Bach.Viola Friends method book 3 contains the most famous student concertinos for violin arranged for Viola and PianoConcertino in G Major Op. 11 by KüchlerConcerto in B minor Op. 35 by O. RiedingConcerto in G Major Op. 34 by O. RiedingConcerto in D Major Op. 15 by F. Küchler, All Viola Friends music is easily learnable with the help of simplified piano parts, Youtube play-along videos on the Violin Friends Youtube channel, and mp3 backing tracks on SoundCloud and the Violin Friends homepage www.violinfriends.com.
$24.90 ≈
22.95€
LEARN TO PLAY 100 EASY TUNES &10 EASY DUETS, for VIOLA in ALTO CLEF
LEARN TO PLAY 100 EASY TUNES &10 EASY DUETS, for VIOLA in ALTO CLEF
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Alto seul
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DÉBUTANT
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Various
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Robert A KEATCH
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LEARN TO PLAY 100 EASY TUNES &
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PARKLAND PUBLISHING WESTERN AUSTRALIA
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SheetMusicPlus
Viola Solo - Level 1 - SKU: A0.1108031 By Various. By Various. Arranged by Robert A KEATCH. 20th Century,Children,Christmas,Instructional,Multicultural,...
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Viola Solo - Level 1 - SKU: A0.1108031 By Various. By Various. Arranged by Robert A KEATCH. 20th Century,Children,Christmas,Instructional,Multicultural,World. Individual part. 32 pages. PARKLAND PUBLISHING WESTERN AUSTRALIA #710648. Published by PARKLAND PUBLISHING WESTERN AUSTRALIA (A0.1108031). If you're a beginner or looking to enhance your musical skills or looking to add Alto Clef, this book is just what you need. A good SIGHT READING book for beginners.It features well-known tunes including For He's A Jolly Good Fellow and Happy Birthday, and is packed with an impressive collection of easy-to-learn melodies and duets that make reading and playing the ALTO clef a breeze.The book is designed specifically for beginners, and violinists converting to Viola, containing useful teaching points, guidance notes for both teachers and students, a note value chart, the Circle of Fifths for major keys, scales, easy technical exercises, and an alphabetical index of tunes. It's perfect for teacher-student play-along.Professional musician Keith Walker highly recommends this book, wishing he had it 50 years ago. It's popular among elementary school instrumentalists and teachers because of its simplicity and versatility, as it can be played on any instrument.It's available in 10 different versions for all Western musical instruments, allowing for unison or octave play.This book is a great source of inspiration and motivation for people of all ages and classrooms.A must-have resource for all ages.
$11.99 ≈
11.05€
Chromatic Polka for Viola and Cello
Chromatic Polka for Viola and Cello
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Alto, Violoncelle (duo)
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INTERMÉDIAIRE/AVANCÉ
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Louis Kohler
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K
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Chromatic Polka for Viola and
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Vlazville Music-Digital
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SheetMusicPlus
Instrumental Duet Cello,Instrumental Duet,Viola - Level 4 - SKU: A0.737326 Composed by Louis Kohler. Arranged by K. Wreede. Concert,Romantic Period,Stan...
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Instrumental Duet Cello,Instrumental Duet,Viola - Level 4 - SKU: A0.737326 Composed by Louis Kohler. Arranged by K. Wreede. Concert,Romantic Period,Standards,Wedding. Score and parts. 4 pages. Vlazville Music-Digital #5710383. Published by Vlazville Music-Digital (A0.737326). Adorable little jaunty polka. Perfect for teaching chromatic scales, spiccato and just general charm. You may recognize it from intermediate level piano repertoire, but it's much cuter on strings. Great recital piece and even works on gigs. It's not often that viola gets to do the light and bouncy parts, so this is a good stretch for students and fun for professionals. Cello also gets some of the fast notes for a while.
$5.99 ≈
5.52€
7 Concert Etudes for Solo Viola
7 Concert Etudes for Solo Viola
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Alto seul
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AVANCÉ
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Methodes Etudes
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Katrina Wreede
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7 Concert Etudes for Solo Viol
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Vlazville Music-Digital
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SheetMusicPlus
Viola - Advanced - Digital Download Composed by Katrina Wreede. 21st Century, Contemporary Classical, Repertoire, Technique Training, Recital. Indivi...
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Viola - Advanced - Digital Download Composed by Katrina Wreede. 21st Century, Contemporary Classical, Repertoire, Technique Training, Recital. Individual Part, Score. 15 pages. Published by Vlazville Music-Digital
Seven short, performable etudes for advanced violists, appropriate for encores, study and technical challenge, addressing techniques like pentatonic double stops, bariolage, whole tone scales, fast playing, finger substitutions, smooth string changes and left hand pizzicato.
$8.99 ≈
8.29€
æ„› (Ai, Japanese for Love), Viola Duet
æ„› (Ai, Japanese for Love), Viola Duet
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2 Altos (duo)
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INTERMÉDIAIRE
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David McKeown
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æ„›
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David McKeown
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SheetMusicPlus
Viola Duet Viola - Level 3 - SKU: A0.590659 Composed by David McKeown. Holiday,Love,Wedding,World. Score. 4 pages. David McKeown #6231083. Published by ...
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Viola Duet Viola - Level 3 - SKU: A0.590659 Composed by David McKeown. Holiday,Love,Wedding,World. Score. 4 pages. David McKeown #6231083. Published by David McKeown (A0.590659). 愛(Ai, Japanese for Love), is a beautiful original composition by David McKeown, arranged as a duet for two Violas, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by the Enka music of post-war Japan. As reconstruction gathered pace, the popular music of the day combined traditional Japanese scales, rhythms and themes with all sorts of contemporary Western ballad styles. Singers like Misori Hibari and Keiko Fuji became huge cultural icons in Japan and helped lay the foundations for today’s confident and vibrant Japanese music scene. 愛(Ai) aims to capture the spirit of this emotionally charged music. 愛(Ai) is written for players at an intermediate standard and upwards. Expressive throughout, be sure to pay attention to contrasts in dynamics and articulation. 愛(Ai) has a performance time of around two minutes and a half minutes. Click the link above to listen to a full YouTube performance of the Clarinet version.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99 ≈
3.68€
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 ≈
22.11€
Viola Friends Method Book 2
Viola Friends Method Book 2
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Alto, Piano
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FACILE
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Traditional
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Lauri Hamalainen
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Viola Friends Method Book 2
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Suomi Music
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SheetMusicPlus
Piano,Viola - Level 2 - SKU: A0.1318079 Composed by Traditional. Arranged by Lauri Hamalainen. Chamber,Children,Classical,Instructional,Traditional. Edu...
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Piano,Viola - Level 2 - SKU: A0.1318079 Composed by Traditional. Arranged by Lauri Hamalainen. Chamber,Children,Classical,Instructional,Traditional. Educational Method. 62 pages. Suomi Music #906780. Published by Suomi Music (A0.1318079). VIOLA FRIENDS METHOD BOOK 2Viola Friends Method Book Volume 2 is a fun and colorful collection of great music for the intermediate viola player presenting music from Wohlfart, Rolland, Bach, Vivaldi, Kalliwoda, Purcell, Beethoven, Mozart, Kabalevsky, Saroyan, Tchaikovsky, Alday, Strauss, Dancla, Sevcik, Trott, Carse, Spiess, and Hämäläinen.Viola Friends 2 is the second part of the Viola Friends family of music books.Viola Friends method book 2 contains: Warming-up exercises Forty-six small pieces for the concert 25 duos three trios two major and two minor scales in 2 octaves 16 technical etudes. All Viola Friends music is easily learnable with the help of simplified piano parts, Youtube play-along videos on the Violin Friends Youtube channel, and mp3 backing tracks on SoundCloud and the Violin Friends homepage www.violinfriends.com.
$22.90 ≈
21.11€
Polka Russe-Czerny-Viola Solo
Polka Russe-Czerny-Viola Solo
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Alto seul
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INTERMÉDIAIRE
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Charles Czerny
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Phil Beaman
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Polka Russe-Czerny-Viola Solo
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Phil Beaman
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SheetMusicPlus
Viola Solo - Level 3 - SKU: A0.844592 Composed by Charles Czerny. Arranged by Phil Beaman. Classical,Folk,Instructional. Individual part. 3 pages. Phil ...
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Viola Solo - Level 3 - SKU: A0.844592 Composed by Charles Czerny. Arranged by Phil Beaman. Classical,Folk,Instructional. Individual part. 3 pages. Phil Beaman #3928143. Published by Phil Beaman (A0.844592). This fun piece is loosely based on a popular Russian folk polka. In 1853 Charles Czerny took this polka tune and created a piano etude as part of his set Amusement des Juenes Amateurs. I have taken some of his themes and adapted and arranged them for instrumental solo. I have assembled them into a Rondo form: Intro-A-B-A-C-A-D-A-Coda. Â It is an etude (study) to sharpen your playing of scales, arpeggios, melodic interval leaps, and various articulations. But it doesn't at all sound like an exercise because of the playful nature of the polka. This dramatic piece shows your technical accomplishments while delivering a crowd pleasing tune with great flourish.I have marked it as Intermediate in difficulty as a general average. The notes and rhythms are Easy, the quick Tempo makes it Early Intermediate, and the range which is a half step beyond a full 2 octaves makes it Advanced Intermediate for some instruments. Has double stops in the intro and coda. 3 pages, 1:45 minutesTemporary piano recording of instrument part
$3.99 ≈
3.68€
Scales and Arpeggios Method for Viola Part II
Scales and Arpeggios Method for Viola Part II
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Sarah Labrousse
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Scales and Arpeggios Method fo
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FLEX Editions - Digital Sheet Music
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SheetMusicPlus
Viola - Grade 3 to 6 - SKU: FX.FX071812-2 Composed by Sarah Labrousse. Viola Method, Viola Instruction. Technique, Scales and Studies. Instructional boo...
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Viola - Grade 3 to 6 - SKU: FX.FX071812-2 Composed by Sarah Labrousse. Viola Method, Viola Instruction. Technique, Scales and Studies. Instructional book. Standard notation (no tablature), fingerings, introductory text. Instructional method, Classical, Educational. Book, Viola Part, Viola Method. FLEX Editions - Digital Sheet Music #FX071812-2. Published by FLEX Editions - Digital Sheet Music (FX.FX071812-2). A 2nd Volume that will accompany more advanced students throughout their studies, with many supplementary exercises, and a very pedagogical approach of double stop scales.
$13.95 ≈
12.86€
æ„› (Ai, Japanese for Love), Clarinet and Viola Duet
æ„› (Ai, Japanese for Love), Clarinet and Viola Duet
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Clarinette et Alto
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INTERMÉDIAIRE
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David McKeown
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æ„›
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David McKeown
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Viola - Level 3 - SKU: A0.590630 Composed by David McKeown. Holiday,Love,Wedding,World. Score and parts. 4 ...
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Instrumental Duet Clarinet,Instrumental Duet,Viola - Level 3 - SKU: A0.590630 Composed by David McKeown. Holiday,Love,Wedding,World. Score and parts. 4 pages. David McKeown #6231023. Published by David McKeown (A0.590630). 愛(Ai, Japanese for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Clarinet and one Viola, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by the Enka music of post-war Japan. As reconstruction gathered pace, the popular music of the day combined traditional Japanese scales, rhythms and themes with all sorts of contemporary Western ballad styles. Singers like Misori Hibari and Keiko Fuji became huge cultural icons in Japan and helped lay the foundations for today’s confident and vibrant Japanese music scene. 愛(Ai) aims to capture the spirit of this emotionally charged music. 愛(Ai) is written for players at an intermediate standard and upwards. Expressive throughout, be sure to pay attention to contrasts in dynamics and articulation. 愛(Ai) has a performance time of around two minutes and a half minutes. Click the link above to listen to a full YouTube performance of the Clarinet version.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99 ≈
3.68€
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