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String Quartet No. 10 “Harp”
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Vous avez sélectionné:
String Quartet No. 10 “Harp”
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Beethoven - String Quartet No.10 in E flat major, "Harp Quartet" Op.74
Beethoven - String Quartet No.10 in E flat major, "Harp Quartet" Op.74
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Quatuor à cordes: 2 violons, alto, violoncelle
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Classique
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Ludwig van Beethoven
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J
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Beethoven - String Quartet No.
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J.G. Cuco Barber
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SheetMusicPlus
String Quartet String Quartet - SKU: A0.1109464 Composed by Ludwig van Beethoven. Arranged by J.G. Cucó Barber. Chamber,Classical. 79 pages. J.G. Cuc...
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String Quartet String Quartet - SKU: A0.1109464 Composed by Ludwig van Beethoven. Arranged by J.G. Cucó Barber. Chamber,Classical. 79 pages. J.G. Cuco Barber #711884. Published by J.G. Cuco Barber (A0.1109464). Work Title String Quartet No.10 Alternative Title Harp Quartet Composer Beethoven, Ludwig van Opus/Catalogue Number Op.74 Key E-flat major Movements/Sections 4 movements: 1. Poco adagio - Allegro (E♠major) 2. Adagio ma non troppo (A♠major) 3. Presto (C minor) - Più presto quasi prestissimo (C major) 4. Allegretto con variazioni (E♠major) Year/Date of Composition 1809 First Publication 1810 (December) - Leipzig: Breitkopf & Härtel Dedication Franz Joseph Maximilian Fürst von Lobkowitz (1772-1816) Composer Time Period Classical Piece Style Classical Instrumentation 2 violins, viola, cello.
$23.00 ≈
21.20€
String Quartet No. 10 “Harp” (Second Movement Theme)
String Quartet No. 10 “Harp” (Second Movement Theme)
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Classique
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Ludwig van Beethoven
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Mark Phillips
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String Quartet No. 10 “H
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A. J. Cornell Publications
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1177814 Composed by Ludwig van Beethoven. Arranged by Mark Phillips. 19th Century,Classical,Romantic Period. Guitar Tab. 2 pa...
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Guitar - Level 3 - SKU: A0.1177814 Composed by Ludwig van Beethoven. Arranged by Mark Phillips. 19th Century,Classical,Romantic Period. Guitar Tab. 2 pages. A. J. Cornell Publications #777778. Published by A. J. Cornell Publications (A0.1177814). Beethoven’s String Quartet No. 10 “Harp†(Second Movement Theme) for solo classical guitar.
$3.99 ≈
3.68€
BACH: Prelude & Fugue No. 18 in G-sharp Minor, BWV 887 for String Quartet
BACH: Prelude & Fugue No. 18 in G-sharp Minor, BWV 887 for String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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James M
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BACH: Prelude & Fugue No.
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jmsgu3
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.552036 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Instructional,...
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String Quartet String Quartet - Level 3 - SKU: A0.552036 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Instructional,Standards. 44 pages. Jmsgu3 #6091977. Published by jmsgu3 (A0.552036). Score: 28 pages. Duration: 10:30.
$24.95 ≈
22.99€
Guitar Sonata No. 5 in G major (open G tuning)
Guitar Sonata No. 5 in G major (open G tuning)
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Guitare
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AVANCÉ
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Contemporain
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Jeremiah Lawson
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Guitar Sonata No. 5 in G major
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Jeremiah Lawson
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.985325 Composed by Jeremiah Lawson. Contemporary. Individual part. 9 pages. Jeremiah Lawson #6012233. Published by Jerem...
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Solo Guitar - Level 5 - SKU: A0.985325 Composed by Jeremiah Lawson. Contemporary. Individual part. 9 pages. Jeremiah Lawson #6012233. Published by Jeremiah Lawson (A0.985325). Guitar Sonata No. 5 in G major is open G tuning. It is in three movements and performance time is abut 10 to 10:15. Movements 1 and 3 are to be played using a glass or bronze slide worn on the fourth finger. The movements are:1. Hobo Spider Blues2. Ragged) and Sor(e) (after Sor's Op. 29, 10)3. Ricardo de YakimaThe first movement is a set of bottleneck technique variations on an original blues theme. Each variation explores different timbrel possibilities such as ordinary tone, pizzicato, sul tasto, and ponticello before recapitulating the original form of the blues theme.The second movement reconceives Sor's study in E flat from his Op. 29 as a ragtime sonata form, with a developmental intrusion from another Sor etude. This ragtime sonata leads attaca into the final movement.The third movement is another set of variations, this time on a two-step dance theme cast in the form of a menuet. It was common in early 19th century guitar sonatas to end with a menuet and so I opted to end with a menuet with variations. In sharp contrast to my first guitar sonata, which drew inspiration from late Beethoven piano sonatas and late Shostakovich string quartets, the inspirations here were Muddy Waters, Fernando Sor, Scott Joplin, Johnny Cash, and Don Helms.This sonata was also recorded by Daniel Estrem on Estrem Plays Lawson, which was released through Magnatune in 2016. .
$9.95 ≈
9.17€
Oscillation
Oscillation
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Contemporain
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contrast, the string quartet h
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Jeremy Hart
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Oscillation
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Jeremy Graham Hart
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SheetMusicPlus
Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pa...
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Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1–3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartets’ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4–7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1–3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4–7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the work’s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10–13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second section’s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33–84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40–41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85–113 and is followed by a coda at mm.114–131.
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18.39€
Haydn Piano Sonata 40.2 Presto (Classical Music for Tablet Series)
Haydn Piano Sonata 40.2 Presto (Classical Music for Tablet Series)
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Piano seul
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INTERMÉDIAIRE
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Classique
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Stephen R Dalrymple
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Haydn Piano Sonata 40.2 Presto
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Stephen R Dalrymple
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.818283 By Stephen R Dalrymple. By Franz Joseph Haydn. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Clas...
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Piano Solo - Level 3 - SKU: A0.818283 By Stephen R Dalrymple. By Franz Joseph Haydn. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Classical. Score. 14 pages. Stephen R Dalrymple #4967139. Published by Stephen R Dalrymple (A0.818283). Piano Sonata 40.2 Presto (Classical Music for Tablet Series) Franz Joseph Haydn was born in 1732 in a small village in Austria, near the Hungarian border. ♫ His father was a wheelwright and a leader of the town. His mother had been a cook in the palace of a Count. His father had taught himself to play the harp. His family was musical and often sang together (16 brothers and sisters). His father saw that he was extremely musical and that he couldn’t get the education he needed in his little village. When he was 6 years old, he was sent to the home of a relative about 7 miles away to study to be a musician. He never lived with his parents again. ♫ In 1752 he was employed by Count Karl Joseph Morzin, leading the Count’s small orchestra and writing the first of his symphonies. ♫ In 1760 he married Maria Keller. They had a very unhappy marriage, producing no children. ♫ In 1760 Count Paul Andre Esterhazy (one of the wealthiest and most important nobles in the Austrian empire) hired him as assistant director of music. In 1766 at the age of 34, Prince Nikolaus Esterhazy appointed Haydn his Director of Music. His job was divided between the Esterhazy palace in Austria their palace across the border Hungary. ♫ Haydn dedicated Piano Sonata 40 to Princess Marie Esterhazy. He worked for the Esterhazys for the next 28 years, writing hundreds of pieces of music for the prince. After about 15 years, he signed a new contract allowing him to write music for other customers. Haydn’s reputation grew to international fame. ♫ Haydn wrote 104 Symphonies. (Some count 107.) Not unlike George Washington, nicknamed the “Father of our Countryâ€, yet had no children, Haydn is known as the “Father of the Symphony.†and the “Father of the string Quartet.†♫ Napoleon captured Vienna in 1809. Napoleon, himself, ordered an honor guard be placed at Haydn’s home where Haydn lay dying. ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit this screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99 ≈
3.68€
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String Quartet No. 10 “Harp”
