A first set of pieces for third position by Sheila M. Nelson. Designed to give the early Violin player their first experiences of moving into upper positions on their instrument through the learning of simple melodies and fun tunes.

Une douzaine de grands succes sont inclus dans cette collection parfaite pour les debutants. Le recueil offre un acces en ligne a des demonstrations audio et a des pistes d'accompagnement a telecharger ou a ecouter, puis a jouer ! Les chansons comprennent : Adore You (Harry Styles) - Bad Habits (Ed Sheeran) - Blinding Lights (The Weeknd) - drivers license (Olivia Rodrigo) - Kings and Queens (Ava Maz) - Therefore I Am (Billie Eilish) - Willow (Taylor Swift) - et bien d'autres. / Partitions variété - pop - rock / Variété française / Cordes / HAL LEONARD

Instrumentation: Vla'Pf w/CD Format: Sheet Music Details: Viola (or Violoncello, or Violin) Sheet Music and CD Play-along Pack

This string quartet is a reflection on emperors and kings their works their passions and the inevitable passge of time. Specifically it follows the career of Artashes who ruled Armenia about twenty-two hundred years ago (190-160 BC) founded theArmenian capital Artashat and abducted his beautiful bride Satenik. The composer was struck by a 19th century painting of Artashes funeral with its grand and seemingly endless cortege the wailing throng lining the road the deceased king borne instate on a royal carriage all led by regal horsemen and a colorful phalanx of musicians. The music is divided into five short scenes played without pause: I. Cortege II. Theft III. Build IV. Cortege V. Farewell. Commissioned by the DilijanChamber Music Seriesfor the Lark Musical Society. Duration: c. 14 minutes

Score Parties. Par BEETHOVEN LUDWIG VAN. When Beethoven wrote these three quartets he was 15 years old and a composition student of Christian Gottlob Neefe in Bonn. They reveal a strong Mozartian influence while the brilliant piano writing already gives a sense of the mature Beethoven. He may conceivably have written the works for the wealthy Mastiaux family in Bonn, as he gave piano lessons to one of the daughters and the other three siblings played violin, viola and violoncello. The sole source for the quartets is the autograph score which contains many overwritings that shed light on the works' original conception and possible alternative readings. Although Beethoven never published the pieces in his lifetime and is not known to have performed them, he reused their melodic and thematic material in later compositions. Beethoven preserved the autograph score to the end of his days ? perhaps an indication that the quartets meant a great deal to him. The first edition was published by Artaria in Vienna one year after his death, albeit with the pieces in a different order and with many errors in the musical text. Bärenreiter's scholarly performing edition of the Piano Quartets WoO 36 is edited by the Italian pianist Leonardo Miucci, a specialist in the performance practice of keyboard music from this period. The edition not only presents the correct readings, it also sheds light on the young Beethoven's expressive notation and provides a plausible explanation for the distinction he made between dots and strokes to indicate staccato./ Répertoire / Quatuor pour Piano, Violon, Alto et Violoncelle

The full score for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Parts available: KP00249The composer writes:'Even when I was writing 'Adieu' I knew that I wished to write 'Angel’s Music'. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on 'Angel’s Music' was started in Rome where I spent the autumn of 1987 staying at 'The Danish Academy'. Whether this stay has influenced the quartet or not is impossible to say. however it is true tosay that in the Roman churches I visited I saw countless angels playing in the top of frescoes and altars. Without these angels together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico (in fact there are only a few paintings by him in Rome but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are in the short rhythmic agitating part of the quartet reminiscences of the Italian medieval Trotto dance and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet the distant extremely muted sound in the high register which opens the piece was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that 'little songs' (maybe angel songs) could be created in this density these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form I felt that not only should the 'little songs' be created played and die out in an echo but also that the general pattern of the quartet should give the feeling of music which from the distance is getting closer and

Sheet Music Magazine says 'I'm sure that children will enjoy playing this sympathetic arrangement very much... As ever with Spartan Press the thoughtful detail in presentation encourages good rehearsal and ultimately performance. Ideal for a school concert - warmly recommended'.Scored for violin 1 violin 2 Viola (or violin 3) cello contrabass. Grade: 3 - 5

Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals approached me with the idea of illuminating Beethoven´s quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor… What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays “hidden” in the St. John’s hymn that gave musical notes their original name: ‘Re, Sol, Ut, Io’ (D, G, C, B in English music notation) Perfect! “Resolutio” in Latin means both the resolution of a problem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally the melodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethoven´s “Harp Quartet”. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti) / Niveau : Avancé / Répertoire / 2 Violons, Alto et Violoncelle

Thomas Simaku is an Albanian-born British composer whose music has been reaching audiences all over Europe and the USA for over a decade.The sheet music for String Quartet No. 4 - Parts hasbeen beautifully composed for String Quartet for Intermediate to Advanced level.

with cadenza (Sheet Music and Play-along CD pack available, see Q 9857) / Alto Et Piano

For Four String Quartets And Large Tibetan Temple Bowl-Towards Silence is a meditation on the four states of Atma. This fantastic score and sheet music was expertly composed by British composer best known for religious and minimal works John Tavener.

Notes and accompaniments for Fiddle, Viola, and Cello Time Starters All String Time Piano and string accompaniments for Fiddle, Viola, and Cello Time Starters Notes on the pieces and ideas for extending the material during lessons Warm-ups and extra pieces to supplement the pupil books Photocopiable quizzes, worksheet, practice record, and certificate CD of lively play-along tracks Fully cross-referenced with the pupil books All three pupil books are fully compatible and suitable for individual or mixed group lessons

Cantilena was commissioned by the London Chamber Music Society to celebrate their move to King's Place in October 2008. First performed by Nicholas Daniel and members of the Chilingirian Quartet at King’s Place London on 5th October 2008. The work is a short lyrical piece where an outsider [the oboe] joins the group [a string trio] and adds to their dialogue. At first the newcomer is treated with a mixture of suspicion and agitation but eventually is made welcome. The oboe is invited to share the musical theme that has been established which he then proceeds to embellish and adorn. He leads the harmonic changes that result in the theme being heard in manydifferent keys. He then introduces a new theme. The excitement grows and leads to a climax. A peaceful coda re-establishes the original theme and all ends harmoniously among the integrated quartet.

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

Par FRANCES-HOAD CHERYL. Vocalise was written for The Purcell Composition Prize 1994 and first performed by Sheherazade - Verona Chard (soprano), Denise Dance (flute) and Fiona Clifton-Welker (harp) at the Purcell Room, London on 12 April 1994. Recorded by Korros Ensemble: Nick Ellis (clarinet), Camilla Pay (harp), Eliza Marshall (flute) and released in 2022 through Convivium Records CR071. / Date parution : 2023-06-01/ Répertoire / Flûte, Clarinette et Harpe