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You've selected:
Clear Cello (band part)
Sheetmusic to print
41 sheet music found
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1
26
The Shape of My Soul - Cello
The Shape of My Soul - Cello
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Cello (band part)
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Andrea Clearfield
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The Shape of My Soul - Cello
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.387924 Composed by Andrea Clearfield. This edition: scorch. Concert,Festival. Choral Instrumental Pak. 4 pages. Hal Leonard - Di...
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Digital Download SKU: HX.387924 Composed by Andrea Clearfield. This edition: scorch. Concert,Festival. Choral Instrumental Pak. 4 pages. Hal Leonard - Digital #278101. Published by Hal Leonard - Digital (HX.387924).
$7.00
It Came Upon The Midnight Clear (from A Symphony Of Carols) - Cello
It Came Upon The Midnight Clear (from A Symphony Of Carols) - Cello
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Cello (band part)
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Christmas
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Joseph M
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It Came Upon The Midnight Clea
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.275760 Arranged by Joseph M. Martin. Carol,Christmas,Holiday,Winter. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #40...
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Digital Download SKU: HX.275760 Arranged by Joseph M. Martin. Carol,Christmas,Holiday,Winter. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #408880. Published by Hal Leonard - Digital (HX.275760).
$7.00
A Midnight Clear (A Cantata For Christmas) - Cello
A Midnight Clear (A Cantata For Christmas) - Cello
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Cello (band part)
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Christmas
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A Midnight Clear
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.422383 This edition: scorch. Advent,Christmas,Concert,Sacred. Choral Instrumental Pak. 25 pages. Duration 2100. Hal Leonard - Di...
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Digital Download SKU: HX.422383 This edition: scorch. Advent,Christmas,Concert,Sacred. Choral Instrumental Pak. 25 pages. Duration 2100. Hal Leonard - Digital #293728. Published by Hal Leonard - Digital (HX.422383).
$25.00
Tango Pour Claude for Cello and Piano
Tango Pour Claude for Cello and Piano
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Cello, Piano
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INTERMEDIATE
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Tango
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Richard Galliano
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Tango Pour Claude for Cello an
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Diego Maran
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SheetMusicPlus
Piano Accompaniment, Cello - Intermediate - Digital Download By Richard Galliano. Arranged by Diego Marani. Individual Part, Score, Solo Part. 12 pages. Pu...
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Piano Accompaniment, Cello - Intermediate - Digital Download By Richard Galliano. Arranged by Diego Marani. Individual Part, Score, Solo Part. 12 pages. Published by Diego Maran
Item Number: H0.1019155-SC000027723
Richard Galliano is a French accordionist of Italian heritage. After a long and intense period of study, at 14, in a search to expand his ideas on the accordion, he began listening to jazz and heard records by the trumpet player Clifford Brown. The second decisive meeting took place in 1980, with the Argentinean composer and bandoneonist Astor Piazzolla.
Astor strongly encouraged Richard to create the French ?New Musette?, as he himself had previously invented the Argentinean ?New Tango?.
Some later collaboration include Chet Baker, Eddy Louiss, Ron Carter, Wynton Marsalis, Charlie Haden,
Gary Burton, Michel Portal, Toots Thielemans and Kurt Elling.
This arrangement for Cello with piano of one of his most famous and performed pieces (with clear rhythmic references to the Piazzolla's "Libertango") is suitable for classroom, repertoire and recital.
$12.99
Don't Start Now - Pop String Quartet with Rhythm Section parts
Don't Start Now - Pop String Quartet with Rhythm Section parts
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String Quartet: 2 violins, viola, cello
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Rock
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Dua Lipa, Dallas String Quar
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Kyle Pudenz
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Don't Start Now - Pop String Q
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ViolinVagabond Music
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SheetMusicPlus
String Quartet, Drum Set, Guitar, Bass Guitar - Advanced - Digital Download By Dua Lipa, Dallas String Quartet. Arranged by Kyle Pudenz. Score, Set of ...
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String Quartet, Drum Set, Guitar, Bass Guitar - Advanced - Digital Download By Dua Lipa, Dallas String Quartet. Arranged by Kyle Pudenz. Score, Set of Parts. 63 pages. Published by ViolinVagabond Music
This unique version of Dua Lipa's "Don't Start Now" was performed by Dallas String Quartet in their latest music video, and is now available to your ensemble as well!
"If you don't wanna see me dancing with..." some random person's iPod speaker instead of listening to your amazing string quartet, then Don't Start buying shoddy arrangements from free-gig-whatevers dot com. Instead, make the right choice for your ensemble and invest in high quality charts from real, professional arrangers. What you're getting here is not a 72% accurate transcription of someone's Dua Lipa YouTube piano cover that has been laid out "legibly enough" on 4 staves. This is a tasteful setting of one of the sexiest disco grooves to hit radio since the Beegee's untimely decline, and it highlights all those hip string parts from Dua's original track while adding some original figures to really make this tune pop as an instrumental version.
Within the pages of this fantastically funky fresh score, you'll find some simple (but effective) chopping, slapping & extended string techniques to help your ensemble get their groove on, an extendable outro solo where players can stretch their creative legs on a dull gig, and enough sneaky reharminizations to earn an oh-so-satisfying nod of approval from that one guy in the back of the audience who used to be in a jazz band.
This version of the score includes optional RHYTHM SECTION PARTS for guitar, bass, & drum set in addition to the standard string quartet. While this arrangement is more than capable of moving, grooving and soothing with just the string parts, there are a variety of scenarios in which you may find adding some of those "loud" instruments may benefit your ensemble, such as:
- Cool collaborations with non-classical musicians.
- Making peace and finally finding common ground with those heathens who use frets to play in tune.
- Performing at outdoor events... or anywhere where alcohol is served. Small talk doesn't stand a chance against drums!
- You just got the stage plot for the gig and are concerned people won't take you seriously if you have less than 7 inputs on your rider.
- You carpooled to the wedding with the band, and figured you guys might as well play something together during the reception rather than spend all night starting at the appetizers that you aren't allowed to eat.
... and the list goes on.
Help take your ensemble to a new level when expanding your gig repertoire this year. This chart will keep your musicians inspired and your audience's insatiable need to consume brand new music in alternative instrumentations satisfied. To be clear, some practice and/or rehearsal will likely be required, so sight reading is not recommended, but with just a little bit of effort this arrangement will be FUN for your group to play!
Performance time - approximately 3:00, longer if you want to vamp the outro
Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond.
$24.99
It Came Upon A Midnight Clear - Cello
It Came Upon A Midnight Clear - Cello
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Cello (band part)
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Christmas
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MercyMe
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Harold Ross
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Christmas
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It Came Upon A Midnight Clear
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By MercyMe. Arranged by Harold Ross. Carol; Christmas; Concert. EPak. 3 pages. Duration 4:50. Published by Hal Leonard - Digital Sheet Music ...
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By MercyMe. Arranged by Harold Ross. Carol; Christmas; Concert. EPak. 3 pages. Duration 4:50. Published by Hal Leonard - Digital Sheet Music
$7.00
It Came Upon the Midnight Clear - Cello
It Came Upon the Midnight Clear - Cello
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Cello (band part)
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Sacred music
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Christmas
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John Leavitt
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It Came Upon the Midnight Clea
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.436406 Arranged by John Leavitt. This edition: scorch. Advent,Christmas,Sacred. Choral Instrumental Pak. 2 pages. Duration 220. ...
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Digital Download SKU: HX.436406 Arranged by John Leavitt. This edition: scorch. Advent,Christmas,Sacred. Choral Instrumental Pak. 2 pages. Duration 220. Hal Leonard - Digital #293733. Published by Hal Leonard - Digital (HX.436406).
$7.00
It Came Upon a Midnight Clear - Cello
It Came Upon a Midnight Clear - Cello
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Cello (band part)
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Heather Sorenson
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It Came Upon a Midnight Clear
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.459007 Composed by Heather Sorenson. This edition: scorch. Carol,Christmas,Sacred. Choral Instrumental Pak. 2 pages. Duration 22...
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Digital Download SKU: HX.459007 Composed by Heather Sorenson. This edition: scorch. Carol,Christmas,Sacred. Choral Instrumental Pak. 2 pages. Duration 220. Hal Leonard - Digital #284797. Published by Hal Leonard - Digital (HX.459007).
$7.00
Folia Vivaldi – Violoncello / Basso Continuo (Original - Urtext) op. 1, nr. 12 RV 63
Folia Vivaldi – Violoncello / Basso Continuo (Original - Urtext) op. 1, nr. 12 RV 63
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Cello (band part)
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INTERMEDIATE/ADVANCED
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Classical
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Antonio Vivaldi
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Ahiva Editions
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Folia Vivaldi – Violoncello
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Ahiva Editions
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SheetMusicPlus
Small Ensemble Cello Solo - Level 4 - Digital Download SKU: A0.777450 Composed by Antonio Vivaldi. Arranged by Ahiva Editions. Baroque,Standards. Individ...
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Small Ensemble Cello Solo - Level 4 - Digital Download SKU: A0.777450 Composed by Antonio Vivaldi. Arranged by Ahiva Editions. Baroque,Standards. Individual part. 6 pages. Ahiva Editions #5360195. Published by Ahiva Editions (A0.777450). Antonio Vivaldi's Sonata (Variations) Folia op. 1 nr. 12 RV 63Urtext edition based on the first prints from Giuseppe Sala from 1705 (Venice) and Estienne Roger 1715 (Amsterdam)Only the Violoncello / Basso Continuo part.Very clear professional engraving.The full score contains: Violin 1, Violin 2, Violoncello and Basso Continuo [Organ or Harpsichord])
$4.99
Merengue de Merlín, for Violin and Cello Duet
Merengue de Merlín, for Violin and Cello Duet
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Violin, Cello (duet)
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INTERMEDIATE
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David McKeown
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Merengue de Merlín, for Violi
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David McKeown
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SheetMusicPlus
Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.589136 Composed by David McKeown. Concert,Latin,Standards,World. Sc...
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Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.589136 Composed by David McKeown. Concert,Latin,Standards,World. Score and parts. 8 pages. David McKeown #5744023. Published by David McKeown (A0.589136). Merengue de MerlÃn is an exciting original composition by David McKeown, arranged as a duet for one Violin and one Cello.This duet is based on the traditional Latin style of Merengue that emerged in the Dominican Republic during the Nineteenth Century. Merengue Tipico bands maintain the traditional instrumentation of the double-headed tambora drum, güira, accordion and vocal, while urban bands in the North American diaspora often add saxophone, bass and other percussion. The Merengue dance became hugely popular in the 1950s and new forms continue to draw audiences around the world.If you play to an intermediate standard and upwards, then you and your audience will enjoy this piece. The steady quintilla tambora rhythm is present throughout, and following the precise articulation in the score will help convey the style. The main challenge is the fast tempo and melodies should be clearly articulated. Merengue de MerlÃn has a performance time of around two and a half minutes at full tempo. You can listen to a full performance the Alto Saxophone version of this duet by following the YouTube link above.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
It Came Upon a Midnight Clear
It Came Upon a Midnight Clear
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Violin and Piano
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INTERMEDIATE
#
Timothy Bandy
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Timothy Bandy
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It Came Upon a Midnight Clear
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Timothy Bandy
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SheetMusicPlus
Piano,Violin - Level 3 - Digital Download SKU: A0.965755 By Timothy Bandy. By P.D. Arranged by Timothy Bandy. 20th Century,Celtic,Christmas,Contemporary,...
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Piano,Violin - Level 3 - Digital Download SKU: A0.965755 By Timothy Bandy. By P.D. Arranged by Timothy Bandy. 20th Century,Celtic,Christmas,Contemporary,Folk,Irish. 18 pages. Timothy Bandy #571446. Published by Timothy Bandy (A0.965755). A set of variations on the Christmas tune, It Came Upon a Midnight Clear for piano and violin. (Optional solos for Viola and Cello.) Also includes a String Bass part.
$6.00
Mambo de Maya, for Violin and Cello Duet
Mambo de Maya, for Violin and Cello Duet
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Violin, Cello (duet)
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INTERMEDIATE
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David McKeown
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Mambo de Maya, for Violin and
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David McKeown
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SheetMusicPlus
Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.589127 Composed by David McKeown. Concert,Latin,Standards,World. Sc...
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Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.589127 Composed by David McKeown. Concert,Latin,Standards,World. Score and parts. 7 pages. David McKeown #5741773. Published by David McKeown (A0.589127). Mambo de Maya is an exciting original composition by David McKeown, arranged as a duet for one Violin and one Cello.This duet is based on the fast, traditional Latin style of Mambo that emerged in Cuba in the 1930s. Later, when Mambo and its dance steps spread to Mexico and New York, hugely successful band leaders like Perez Prado and Tito Puente borrowed ideas from Big-Band Jazz and produced the bold and brassy sound we associate with Mambo today.If you play to an intermediate standard and upwards, then you and your audience will enjoy this piece. The steady Mambo bell rhythm is implied throughout, and following the precise articulation in the score will help convey the style. Melodies are clearly articulated and played with passion. Mambo de Maya has a performance time of around two and a half minutes at full tempo. You can listen to a full performance the Clarinet version of this duet by following the YouTube link above.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
I Can See Clearly Now: Cello
I Can See Clearly Now: Cello
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Instructional
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Johnny Nash
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Jeff Moore
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I Can See Clearly Now: Cello
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Steel Drum - Digital Download SKU: AX.00-PC-0015577_VC1 Cello. Composed by Johnny Nash. Arranged by Jeff Moore. Instructional. Part. 1 pages. Alfr...
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Steel Drum - Digital Download SKU: AX.00-PC-0015577_VC1 Cello. Composed by Johnny Nash. Arranged by Jeff Moore. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015577_VC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015577_VC1). ISBN 9780739091555. UPC: 038081442952.I Can See Clearly Now was a Billboard No. 1 hit song written and recorded by Johnny Nash in 1972. It has been covered by many artists throughout the years, including a 1993 hit version by Jimmy Cliff, who recorded it for the motion picture soundtrack to Cool Runnings. The song's island sound and laid-back feel make it a popular tune for steel drums, and this arrangement brings it to your band in an easy-to-play package.
$3.00
Crazy Little Thing Called Love
Crazy Little Thing Called Love
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Cello
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ADVANCED
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Queen
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Sarah Cellobat Chaffee
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Crazy Little Thing Called Love
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Sarah Cellobat Chaffee
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SheetMusicPlus
Cello Solo - Level 5 - Digital Download SKU: A0.1453379 By Queen. By Freddie Mercury. Arranged by Sarah Cellobat Chaffee. Pop,Rock,Wedding. Individual pa...
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Cello Solo - Level 5 - Digital Download SKU: A0.1453379 By Queen. By Freddie Mercury. Arranged by Sarah Cellobat Chaffee. Pop,Rock,Wedding. Individual part. 2 pages. Sarah Cellobat Chaffee #1032612. Published by Sarah Cellobat Chaffee (A0.1453379). One of Queen's most beloved classic songs, Crazy Little Thing Called Love was written in 1979 as a tribute to Elvis Presley -- and the song's rockabilly groove, doo-wop feel, and blues-inspired bass definitely make that clear! This Cellobat version for solo cello was originally written for a wedding ceremony, but it will also be perfect for receptions, vow renewals, cocktail parties, solo & ensemble contests or any other occasion you need to get your audience dancing! Featuring the catchy lyrical melody, funky rhythmic grooves, and even the guitar solo of the original, this arrangement is just as much fun to play as it is to listen to. No accompaniment part -- it stands alone, or can be played with a backing track for solo gigs. This chart is rated advanced; there are some syncopated rhythms, triplets, and accidentals that might require running through before performing. Overall it will be learnable for more advanced students and sightreadable for professionals. Have fun and swing those 8th notes! :)Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild” residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$7.99
It Came Upon a Midnight Clear - Cello (String Quartet) by Richard Storrs Willis - Cello Part
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Cello (band part)
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Christmas
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Sacred music
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Richard Storrs Willis
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It Came Upon a Midnight Clear
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Musicnotes
Richard Storrs Willis - It Came Upon a Midnight Clear - Cello (String Quartet) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, down...
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Richard Storrs Willis - It Came Upon a Midnight Clear - Cello (String Quartet) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: String Quartet;Instrumental Part, instruments: Cello; 1 pages -- Holiday & Special Occasion~~Christmas~~Christmas - Religious
$2.95
Crazy Little Thing Called Love
Crazy Little Thing Called Love
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String Trio: 2 violins, cello
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INTERMEDIATE
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Queen
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Sarah Cellobat Chaffee
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Crazy Little Thing Called Love
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1094910 By Queen. By Freddie Mercury. Arranged by Sarah Cellobat Chaffee. Pop,Rock,Wedding....
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String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1094910 By Queen. By Freddie Mercury. Arranged by Sarah Cellobat Chaffee. Pop,Rock,Wedding. 14 pages. Sarah Cellobat Chaffee #698979. Published by Sarah Cellobat Chaffee (A0.1094910). *INSTRUMENTATION: TWO VIOLINS AND CELLO* One of Queen's most beloved classic songs, Crazy Little Thing Called Love was written in 1979 as a tribute to Elvis Presley -- and the song's rockabilly groove, doo-wop feel, and blues-inspired bass definitely make that clear! This version for your two-violin and cello string trio was originally written for a wedding reception, and it will also be perfect for ceremonies, vow renewals, cocktail parties, solo & ensemble contests or any other occasion you need to get your audience dancing! Featuring the beautiful layered harmonies, rhythmic interest, back-and-forth dialogue between the instruments, and even the guitar solo of the original, this arrangement is just as much fun to play as it is to listen to. There are a handful of somewhat tricky rhythms, but overall this chart will be playable for intermediate-level students and easily sightreadable for professionals. Have fun and swing those 8th notes! :) Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$14.99
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download 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
How Great Is Our God
How Great Is Our God
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Violin, Cello (duet)
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INTERMEDIATE
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Sacred music
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Chris Tomlin
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Sarah Cellobat Chaffee
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How Great Is Our God
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Sarah Cellobat Chaffee
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SheetMusicPlus
Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.1262790 By Chris Tomlin. By Chris Tomlin, Ed Cash, and Jesse Reeves. Arranged by Sara...
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Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.1262790 By Chris Tomlin. By Chris Tomlin, Ed Cash, and Jesse Reeves. Arranged by Sarah Cellobat Chaffee. Pop,Praise & Worship,Religious,Rock,Wedding. 9 pages. Sarah Cellobat Chaffee #855798. Published by Sarah Cellobat Chaffee (A0.1262790). Chris Tomlin released How Great Is Our God in 2004 as part of his album Arriving, and it soon became one of his biggest hits. After its debut, it reached number one on the Billboard Hot Christian Songs chart, and won Worship Song of the Year at multiple awards ceremonies; even ten years later it was still ranked as the 5th most popular worship song by CCLI. So it's clear this smash hit is here to stay! This Cellobat arrangement for violin and cello duet maintains the catchy melodies, dynamic intensity, and slow-burn glory of the original for a chart your audience is sure to love! Originally written for a wedding, this will also be perfect for church, solo & ensemble contest, and more. Rated intermediate to advanced-intermediate; this will be learnable for students and easily sightreadable for professionals.Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$9.99
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Clear Cello (band part)
