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Three octave violin scales
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Vous avez sélectionné:
Three octave violin scales
Partitions à imprimer
12 partitions trouvées
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1
Three octave violin scales (Minor)
Three octave violin scales (Minor)
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Violon
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AVANCÉ
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Methodes
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Shannon Duncan
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Three octave violin scales
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Shannon A. Duncan
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SheetMusicPlus
Violin Solo - Level 5 - SKU: A0.928815 Composed by Shannon Duncan. Instructional. 2 pages. Shannon A. Duncan #4616173. Published by Shannon A. Duncan (A...
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Violin Solo - Level 5 - SKU: A0.928815 Composed by Shannon Duncan. Instructional. 2 pages. Shannon A. Duncan #4616173. Published by Shannon A. Duncan (A0.928815). Three octave minor scales for violin with fingerings
$1.99 ≈
1.83€
Three octave violin scales (Major)
Three octave violin scales (Major)
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Violon
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AVANCÉ
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Methodes
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Shannon Duncan
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Three octave violin scales
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Shannon A. Duncan
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SheetMusicPlus
Violin Solo - Level 5 - SKU: A0.928814 Composed by Shannon Duncan. Instructional. 1 pages. Shannon A. Duncan #4616167. Published by Shannon A. Duncan (A...
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Violin Solo - Level 5 - SKU: A0.928814 Composed by Shannon Duncan. Instructional. 1 pages. Shannon A. Duncan #4616167. Published by Shannon A. Duncan (A0.928814). Three octave major scales for violin with fingering.
$1.99 ≈
1.83€
The G Major Scale Book for Violin
The G Major Scale Book for Violin
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Violon
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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 G Major Scale Book for Vio
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Cassia Harvey
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SheetMusicPlus
Violin - Intermediate - Composed by Cassia Harvey. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. Individual Pa...
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Violin - Intermediate - Composed by Cassia Harvey. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. Individual Part. 31 pages. Published by Cassia Harvey
The G Major Scale Book for Violin gives you 26 ways to learn, perfect, and use a 3-octave G major scale.
Perfect for students that have just started playing three-octave scales on the violin,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 violinists who are ready to perfect the G major scale.
How to use this book: Play one page a day as part of your practice regimen, after finger exercises.
$8.95 ≈
8.24€
Three Octave Scales and Arpeggios for Violin
Three Octave Scales and Arpeggios for Violin
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Violon
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Shannon A
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Three Octave Scales and Arpegg
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Shannon A. Duncan
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SheetMusicPlus
Violin Solo - Level 4 - SKU: A0.928822 Composed by Shannon A. Duncan. Instructional. 6 pages. Shannon A. Duncan #4782571. Published by Shannon A. Duncan...
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Violin Solo - Level 4 - SKU: A0.928822 Composed by Shannon A. Duncan. Instructional. 6 pages. Shannon A. Duncan #4782571. Published by Shannon A. Duncan (A0.928822).
$2.00 ≈
1.84€
Essential Scales and Studies for Violin, Level 1
Essential Scales and Studies for Violin, Level 1
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Violon
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DÉBUTANT
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Methodes Etudes
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Craig Duncan
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Essential Scales and Studies f
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Composed by Craig Duncan. For Violin. Building Excellence. All Styles. Beginning-Intermediate. E-book. 40 pages. Published by Mel Bay Publications - Digital She...
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Composed by Craig Duncan. For Violin. Building Excellence. All Styles. Beginning-Intermediate. E-book. 40 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781610650359. This valuable supplement has been written to present essential scales and scale studies for the beginning student. The scales are presented in various rhythms and patterns, including arpeggios. All of the various patterns presented can be used with each scale. The fingerings included present viable ways to approach the scales, but other fingerings can be explored. Various rhythms and bowings may also be applied to practicing the scales. All major scales are presented in two and three octave patterns. All minor scales are presented in three octave patterns. Chromatic scales of two and three octaves are also included. These scales can form an important part of any violin student's practice.
$9.99 ≈
9.20€
Sensible Scales Plus!
Sensible Scales Plus!
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Violon
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FACILE
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Methodes
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Julianna Waller
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Sensible Scales Plus!
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
By Julianna Waller. For Fiddle and Violin. All Styles. 128 pages. Published by Mel Bay Publications - Digital Sheet Music ...
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By Julianna Waller. For Fiddle and Violin. All Styles. 128 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609744694. Each skill section in this excellent resource for beginning, intermediate, and advanced players is concise, easy to understand, and provides an effective and meaningful approach to learning one, two, and three-octave scales plus more. Presentation of scales and arpeggios include excellent fingerings and an emphasis on bowing and rhythmic variations. Beginners are supported with rote and music notation as well as specific goals to accomplish. One special feature is an intense focus on the development of the intermediate player through two-octave scales, arpeggios, and chord progression arpeggios! These studies increase knowledge of music theory, promote chord recognition, and are especially valuable for those learning improvisation. Advanced players will be challenged by three-octave major and minor scales presented in increasing rhythmic values. Finally, scales in sixths and thirds are offered for continued study and development of double stops. Discover a deep appreciation for getting the most out of scales!
$19.99 ≈
18.41€
Progressive Scale Studies for Violin
Progressive Scale Studies for Violin
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Violon
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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
By John Bauer. For Violin. All Styles. 104 pages. Published by Mel Bay Publications - Digital Sheet Music ...
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By John Bauer. For Violin. All Styles. 104 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609741693. This scale system coordinates basic concepts from 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. Also covers two- and three-octave scales, double-stops, and harmonics.
$17.99 ≈
16.57€
Polka Russe-Czerny-Violin Trio
Polka Russe-Czerny-Violin Trio
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Charles Czerny
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Phil Beaman
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Polka Russe-Czerny-Violin Trio
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Phil Beaman
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SheetMusicPlus
String Ensemble,String Trio - Level 2 - SKU: A0.844569 Composed by Charles Czerny. Arranged by Phil Beaman. Classical,Folk,Instructional. Score and part...
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String Ensemble,String Trio - Level 2 - SKU: A0.844569 Composed by Charles Czerny. Arranged by Phil Beaman. Classical,Folk,Instructional. Score and parts. 17 pages. Phil Beaman #3904049. Published by Phil Beaman (A0.844569). In 1853 Charles Czerny composed a set of 20 easy piano pieces which he called Amusement des Jeunes Amateurs (Amusement for Young Amateurs); they were subtitled Petites et Brillantes Recreations (Small and Brilliant Recreations). Let's just say they are easy fun little pieces! All of the pieces were loosely based on a folk song or a popular theme from a classical composer. One of them was based on a popular folk Russian polka, so he called it Polka Russe.I have taken Polka Russe and freely arranged it for Instrumental Trio, using some of Czerny's themes, re-arranging them into parts, and also re-ordering them into my own Rondo. Form is Intro-ABACADA-Coda. I have broken up his melodies and spread them across all three parts; each part is of equal importance and each part independently adds to the stunning melodic weaving. Parts are mostly scales and arpeggios. It requires careful counting and close attention to rhythmic interplay, but sounds quite advanced and dramatic when all details are observed. This piece is really quite Easy, I have just marked it Early Intermediate because of the Allegretto vivace tempo, the note range (two octaves), and the necessary counting. A fun piece to show your technique and musicianship as a group in any concert. 1:45 minutes, 8 pages score, 3 pages @ part(Temporary recording of piano reduction of parts)
$5.50 ≈
5.06€
Soldier's Fanfare-string quartet
Soldier's Fanfare-string quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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DÉBUTANT
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Phil Beaman
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Soldier's Fanfare-string quart
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Phil Beaman
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SheetMusicPlus
String Quartet Cello,String Quartet,Violin - Level 1 - SKU: A0.844761 Composed by Phil Beaman. Classical,Patriotic. Score and parts. 6 pages. Phil Beama...
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String Quartet Cello,String Quartet,Violin - Level 1 - SKU: A0.844761 Composed by Phil Beaman. Classical,Patriotic. Score and parts. 6 pages. Phil Beaman #5349599. Published by Phil Beaman (A0.844761). Soldier's Fanfare is an energetic fanfare that is quite easy to play. The top three parts pulse notes of the triads staying within an octave, while the bottom part has scales and arpeggios ranging one and a half octaves. This piece is excellent for studying different articulations, contrasting between detached, staccato, and slurred. The majestic nature of the piece makes it a great recital performance that sounds very professional when all put together.
$6.99 ≈
6.44€
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 ≈
21.09€
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)
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Three octave violin scales
