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Concerto in A Minor for Double Bass and Orchestra
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You've selected:
Concerto in A Minor for Double Bass and Orchestra
Sheetmusic to print
39 sheet music found
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1
26
Concerto in A Minor for Double Bass and Orchestra
Concerto in A Minor for Double Bass and Orchestra
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Orchestra
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ADVANCED
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Contemporary
#
Robert E
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Concerto in A Minor for Double
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R. E. Proctor
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.809759 Composed by Robert E. Proctor. 20th Century,Contemporary. Score and parts. 148 pages. R. E. Pr...
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Full Orchestra - Level 5 - Digital Download SKU: A0.809759 Composed by Robert E. Proctor. 20th Century,Contemporary. Score and parts. 148 pages. R. E. Proctor #2897651. Published by R. E. Proctor (A0.809759). A more challenging work for the double bass and orchestra than the Concerto in Bb Major. Rhythmic with interesting melodies and harmonies the Concerto in A Minor gives the soloist an opportunity to display his / her facility on the double bass while remaining interesting to a wide cross-section of listeners. The harp plays a major roll in this work setting the harmonic background on which the bass plays over. Set in the standard fast / slow / fast arrangement of movements in the traditional concerto format. The approximate performance length is 15 minutes and 44 seconds. The full range of the standard double bass is explored. Piano reduction available separately. See my publisher page on this website. Email to: musicbyrobertproctor@hotmail.com.
$19.95 ≈
18.05€
Concerto in Bb Major for Double Bass and Orchestra
Concerto in Bb Major for Double Bass and Orchestra
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Orchestra
#
INTERMEDIATE/ADVANCED
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Robert E
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Concerto in Bb Major for Doubl
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R. E. Proctor
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. ...
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Full Orchestra - Level 4 - Digital Download SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102129. Published by R. E. Proctor (A0.809714). A concerto for Double Bass and orchestra in the traditional fast - slow – fast concerto format. While not overly challenging for the bass soloist, it does explore, to a degree, the upper reaches of the instrument as well as sounding the beautiful low range. The first movement is that might be called Neo – Classical, opening with an 8-measure solo in a Largo or slow tempo. The tempo then changes to Allegro (fast) for the balance of the movement. The movement ends as it began with the double bass playing alone. The second movement is a jazz waltz. In 9/8, it opens with the soloist playing pizzicato against a rhythmic cord progression. The bass and cello sections pick this up to provide a ground upon which the balance of the movement is played over. The second movement is in the relative minor of Bb which is G minor. A haunting melody is introduced by the bass and doubled by the strings. This melody is replayed by various instruments as the Bass Soloist plays variations on this theme. The harp and the bass solo end the movement. The third movement leans toward French Impressionism. This movement is Andantino; however, it is a spirited. Written in cut time, where the half note equals 92 beats per minute. The melody is introduced by the woodwinds with the harp accompanying. The strings and brass join in as the woodwinds repeat the melody. Finally, the bass solo takes charge of the melody using it as a theme and variation. The harp is used extensively in this concerto providing harmonic, melodic, and rhythmic support for the bass. Written in 2015, the concerto is a new work, however, it is not experimental music. It uses the standard orchestral instruments playing in the standard fashion. It is replete with modern harmonic sounds and chord progressions. As concerto's go, this one is not overly difficult providing the bassist with a starting point as a soloist. It does require the soloist to have some mastery over the instrument as the music traverses most of the instrument’s range. Performance time is approximately 13 minutes and 10 seconds.
$19.95 ≈
18.05€
Double Concerto in B Minor for Double Bass and Orchestra - Piano Reduction
Double Concerto in B Minor for Double Bass and Orchestra - Piano Reduction
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Double bass, Piano (duet)
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ADVANCED
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Contemporary
#
Robert E
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Double Concerto in B Minor for
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R. E. Proctor
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SheetMusicPlus
Double Bass,Piano,String Bass - Level 5 - Digital Download SKU: A0.809792 Composed by Robert E. Proctor and Robert E. Proctor. 20th Century,Contemporary....
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Double Bass,Piano,String Bass - Level 5 - Digital Download SKU: A0.809792 Composed by Robert E. Proctor and Robert E. Proctor. 20th Century,Contemporary. Score and part. 85 pages. R. E. Proctor #3015059. Published by R. E. Proctor (A0.809792). A concerto for two double basses. Approximately 19 minutes and 36 seconds in length. This work explores the full range of the bass. As in the other two concertos for bass, the harp plays a significant roll throughout the work providing a harmonic backdrop on which the basses play. Conceived as a conversation between the two soloists, their parts interweave, calling and answering each other. The orchestra is interwoven with the basses to add contrast and color. The Double Concerto in B Minor should be interesting to both performer and audience. This is a piano reduction.
$9.95 ≈
9.00€
Double Concerto in B Minor for Double Bass and Orchestra
Double Concerto in B Minor for Double Bass and Orchestra
#
Orchestra
#
ADVANCED
#
Contemporary
#
Robert E
#
Double Concerto in B Minor for
#
R. E. Proctor
#
SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.809761 Composed by Robert E. Proctor. 20th Century,Contemporary. Score and parts. 185 pages. R. E. Pr...
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Full Orchestra - Level 5 - Digital Download SKU: A0.809761 Composed by Robert E. Proctor. 20th Century,Contemporary. Score and parts. 185 pages. R. E. Proctor #2898967. Published by R. E. Proctor (A0.809761). A concerto for two double basses. Approximately 19 minutes and 36 seconds in length. This work explores the full range of the bass. As in the other two concertos for bass, the harp plays a significant roll throughout the work providing a harmonic backdrop on which the basses play. Conceived as a conversation between the two soloists, their parts interweave, calling and answering each other. The orchestra is interwoven with the basses to add contrast and color. The Double Concerto in B Minor should be interesting to both performer and audience.
$19.95 ≈
18.05€
Bottesini - Concerto No. 2 in A Minor, for double bass and string orchestra
Bottesini - Concerto No. 2 in A Minor, for double bass and string orchestra
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String Orchestra
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ADVANCED
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Classical
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Giovanni Bottesini
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Evan Halloin
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Bottesini - Concerto No. 2 in
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Evan Halloin
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SheetMusicPlus
Composed by Giovanni Bottesini (1821-1889). Arranged by Evan Halloin. Classical. Score and parts. 89 pages. Evan Halloin #679905. Published by Evan Ha...
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Composed by Giovanni Bottesini (1821-1889). Arranged by Evan Halloin. Classical. Score and parts. 89 pages. Evan Halloin #679905. Published by Evan Halloin
$60.00 ≈
54.30€
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 ≈
21.71€
Concerto in A Minor for Double Bass and Orchestra - Piano Reduction
Concerto in A Minor for Double Bass and Orchestra - Piano Reduction
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Double bass, Piano (duet)
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Robert E
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Concerto in A Minor for Double
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R. E. Proctor
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SheetMusicPlus
Composed by Robert E. Proctor. Contemporary Classical, Modern, Neo-Classical. Piano Reduction, Set of Parts. 41 pages. Published by R. E. Proctor (S0.194657). -...
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Composed by Robert E. Proctor. Contemporary Classical, Modern, Neo-Classical. Piano Reduction, Set of Parts. 41 pages. Published by R. E. Proctor (S0.194657). - Piano Reduction,Set of Parts - Contemporary Classical,Modern,Neo-Classical - R. E. Proctor
$9.95 ≈
9.00€
Vivaldi - Bassoon Concerto in A minor RV 500 for Bassoon, Strings and Cembalo
Vivaldi - Bassoon Concerto in A minor RV 500 for Bassoon, Strings and Cembalo
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Santino Cara
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Santino Cara
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Vivaldi - Bassoon Concerto in
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Santino Cara
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.900660 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 75...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.900660 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 75 pages. Santino Cara #506940. Published by Santino Cara (A0.900660). Complete score and Parts of the Bassoon Concerto in A minor RV 500 for Bassoon, Strings and Cembalo. Composed in Venice in 1730 by Antonio Vivaldi. Reconstructed and elaborated in Rome in 2019 by Santino Cara. 3 Movements: 1. Allegro non molto, 2. Largo, 3. Allegro. Single PDF file with: Complete score of the concerto and separate parts for Bassoon, Violins 1 and Violins 2, Cellos with solo cello, Double basses, Harpsichord.
$19.00 ≈
17.19€
Vivaldi - Bassoon Concerto in A minor RV 499 for Bassoon, Strings and Cembalo
Vivaldi - Bassoon Concerto in A minor RV 499 for Bassoon, Strings and Cembalo
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Antonio Vivaldi
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Santino Cara
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Vivaldi - Bassoon Concerto in
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Santino Cara
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.518562 Composed by Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 76 pages. ...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.518562 Composed by Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 76 pages. Santino Cara #129267. Published by Santino Cara (A0.518562). Complete score and parts of the Bassoon Concerto RV 499 for Bassoon, Strings and Cembalo. Composed in Venice in 1723 by Antonio Vivaldi. Reconstructed and elaborated in Rome in 2002 by Santino Cara. 3 Movements: 1. Allegro, 2. Largo, 3. Allegro Single PDF file with: Complete score of the concerto with separate parts for Bassoon, Violins 1 and Violins 2, Cellos with Solo cello, Double basses, Harpsichord.
$18.80 ≈
17.01€
Concerto in G Minor for Trombone and Orchestra - Piano Reduction
Concerto in G Minor for Trombone and Orchestra - Piano Reduction
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Double bass, Piano (duet)
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ADVANCED
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Contemporary
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Robert E
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Concerto in G Minor for Trombo
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R. E. Proctor
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SheetMusicPlus
Double Bass,Piano,String Bass - Level 5 - Digital Download SKU: A0.809790 Composed by Robert E. Proctor. 20th Century,Contemporary. Score and part. 41 pa...
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Double Bass,Piano,String Bass - Level 5 - Digital Download SKU: A0.809790 Composed by Robert E. Proctor. 20th Century,Contemporary. Score and part. 41 pages. R. E. Proctor #3012303. Published by R. E. Proctor (A0.809790). A mix of melodies, harmonies, and styles that will interest your audience with an opportunity for your principal (or guest) trombonist to shine. In three movements: the 1st being a set of variations on different themes, the 2nd movement is reminiscent of 1960's pop/rock music, and the 3rd is more modern in harmony. Approximate length 17 minutes and 55 seconds. This is an arrangement for piano and double bass.
$9.95 ≈
9.00€
Allegro (from "Concerto for Four Claviers") (A min) (String Quintet - 2 Violins, 1 Viola, 1 Cello, 1
Allegro (from "Concerto for Four Claviers") (A min) (String Quintet - 2 Violins, 1 Viola, 1 Cello, 1
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Classical
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Johann Sebastian Bach
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Regis Bookshar
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Allegro
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet - Level 5 - Digital Download SKU: A0.813376 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Concert...
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String Ensemble,String Quintet - Level 5 - Digital Download SKU: A0.813376 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Concert,Instructional,Standards,World. Score and parts. 43 pages. Regis Bookshar #6209757. Published by Regis Bookshar (A0.813376). String Quintet - Advanced - Digital Download. This must-have arrangement would be a fabulous addition to any music library and could be performed for concerts and recitals and could also be performed for church services. This brilliant work by Johann Sebastian Bach is an adaptation of Antonio Vivaldi's Concerto for Four Violins and String Orchestra in B minor. Bach had gotten to know Vivaldi's concertos while he was an organist at Weimar, where he transcribed ten of them for solo harpsichord and six of them for organ. Originally written in B minor, Bach transposed it to A minor and, while preserving the melodic outline as conceived by Vivaldi for four violins, this later adaptation, from around 1730, for four harpsichords and string orchestra, is far more ambitious. In it, Bach has both tightened and expanded Vivaldi's counterpoint, enriched it with lusher harmonies and expanded the solo parts with greater complexity and greater clarity. The result is a composition that actually improves on the original work. Written in the standard three-movement concerto form of the Baroque period, Bach's Concerto for Four Claviers in A minor is a virtuoso piece for the soloists. Regis Bookshar has now rearranged the first movement of this concerto, marked Allegro, for a String Quintet, consisting of 2 Violins, 1 Viola, 1 Violoncello and 1 Double Bass, while maintaining the energy and virtuosity of Bach's original work. This arrangement is intended to be performed by accomplished players and may prove to be a huge challenge for many players, but, I think, it will be worth the effort. Included are a score and a complete set of parts (43 pages). In addition to this version for a String Quintet, other arrangements of this selection are also available for a variety of Instrumental Quintets, some of which are in the original key of Concert A minor and some have been transposed to Concert G minor, making it a little easier for some performers, as well as numerous other arrangements in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will be a challenge to many performers but will continue to entertain both performers and audiences alike for years to come. I hope you will enjoy it as much as I have enjoyed working on it.
$35.00 ≈
31.67€
A. Vivaldi: Cello Concerto in A Minor, RV419
A. Vivaldi: Cello Concerto in A Minor, RV419
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Classical
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Antonio Vivaldi
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Clara Obsidian
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A. Vivaldi: Cello Concerto in
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Clara Obsidian
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SheetMusicPlus
String Ensemble,String Quintet - Level 4 - Digital Download SKU: A0.871429 Composed by Antonio Vivaldi. Arranged by Clara Obsidian. Baroque,Concert,Stand...
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String Ensemble,String Quintet - Level 4 - Digital Download SKU: A0.871429 Composed by Antonio Vivaldi. Arranged by Clara Obsidian. Baroque,Concert,Standards. Score and parts. 45 pages. Clara Obsidian #6417341. Published by Clara Obsidian (A0.871429). Vivaldi's Concerto for Cello in A minor (La minore), RV419I: AllegroII: AndanteIII: Allegro----------------------Arranged for Cello solo and string quartet/ orchestra (Optional double bass part)Cello solo: Tutti parts may be omitted as a stylistic choice.---------------------A fun, exciting piece suitable for recitals, concerts and jamming sessionFull Score and Parts--------------------------------------------------
$12.99 ≈
11.76€
Adagio BWV 974 from Concerto in D Minor after Marcello for contrbass and piano
Adagio BWV 974 from Concerto in D Minor after Marcello for contrbass and piano
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Double bass, Piano (duet)
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INTERMEDIATE/ADVANCED
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Classical
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BACH–MARCELLO
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Klas Krantz
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Adagio BWV 974 from Concerto i
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Amadeus Music
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SheetMusicPlus
Double Bass,Piano,String Bass - Level 4 - Digital Download SKU: A0.1238070 By BACH–MARCELLO. By Bach, Marcello. Arranged by Klas Krantz. Baroque,C...
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Double Bass,Piano,String Bass - Level 4 - Digital Download SKU: A0.1238070 By BACH–MARCELLO. By Bach, Marcello. Arranged by Klas Krantz. Baroque,Classical. Score and part. 6 pages. Amadeus Music #833541. Published by Amadeus Music (A0.1238070). Ornamented contrabass part included.Johann Sebastian Bach (1685 – 1750) was a German composer, organist, harpsichordist, violist, and violinist whose ecclesiastical and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity.Known from Fifty Shades of Grey.Â
$5.95 ≈
5.38€
A. Vivaldi: Cello Concerto in B Minor, RV424
A. Vivaldi: Cello Concerto in B Minor, RV424
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String Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Antonio Vivaldi
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Clara Obsidian
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A. Vivaldi: Cello Concerto in
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Clara Obsidian
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SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.871411 Composed by Antonio Vivaldi. Arranged by Clara Obsidian. Baroque,Concert,Graduation,Standard...
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String Orchestra - Level 4 - Digital Download SKU: A0.871411 Composed by Antonio Vivaldi. Arranged by Clara Obsidian. Baroque,Concert,Graduation,Standards. Score and parts. 55 pages. Clara Obsidian #6325037. Published by Clara Obsidian (A0.871411). Vivaldi's Concerto for Cello in B minor (Si minore), RV424I: Allegro non moltoII: LargoIII: Allegro----------------------Arranged for Cello solo and string quartet/ orchestra (Optional double bass part)Cello solo: Tutti parts may be omitted as a stylistic choice.---------------------A fun, exciting piece suitable for recitals, concerts and jamming session.
$12.99 ≈
11.76€
Double Violin Concerto in D minor (BWV 1043) - 1st Movt - arranged for 2 pianos
Double Violin Concerto in D minor (BWV 1043) - 1st Movt - - 2 pianos
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2 Pianos, 4 hands
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Classical
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Johann Sebastian Bach
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Pietro Prugna
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Double Violin Concerto in D mi
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Pietro Prugna
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Digital Download SKU: A0.502000 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Instruction...
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2 Pianos,4 Hands,Piano Duet - Digital Download SKU: A0.502000 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Instructional. Score. 27 pages. Published by Pietro Prugna (A0.502000). This was originally for Double Violin with String Orchestra. This is an arrangement for 2 Pianos. For Piano 1, right hand plays Violin I Solo while left hand plays Strings (violin and viola). For Piano 2, right hand plays Violin II Solo while left hand plays Basso Continuo (Cello). In a few bars, minor adjustments made to prevent overlapping. The pdf contains Full Score and Set of Parts (Piano 1, Piano 2).
$1.99 ≈
1.80€
Double Violin Concerto in D minor (BWV 1043) - 2nd Movt - arranged for 2 pianos
Double Violin Concerto in D minor (BWV 1043) - 2nd Movt - - 2 pianos
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2 Pianos, 4 hands
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Classical
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Johann Sebastian Bach
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Pietro Prugna
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Double Violin Concerto in D mi
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Pietro Prugna
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Digital Download SKU: A0.497954 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Christmas,Classical,E...
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2 Pianos,4 Hands,Piano Duet - Digital Download SKU: A0.497954 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Christmas,Classical,Easter,Wedding. Score. 17 pages. Published by Pietro Prugna (A0.497954). This was originally for Double Violin with String Orchestra. This is an arrangement for 2 Pianos. For Piano 1, right hand plays Violin I Solo while left hand plays Strings (violin and viola). For Piano 2, right hand plays Violin II Solo while left hand plays Basso Continuo (Cello). In a few bars, minor adjustments made to prevent overlapping. The pdf contains Full Score and Set of Parts (Piano 1, Piano 2).
$1.99 ≈
1.80€
Double Violin Concerto in D minor (BWV 1043) - 3rd Movt - arranged for 2 pianos
Double Violin Concerto in D minor (BWV 1043) - 3rd Movt - - 2 pianos
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2 Pianos, 4 hands
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Classical
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Johann Sebastian Bach
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Pietro Prugna
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Double Violin Concerto in D mi
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Pietro Prugna
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Digital Download SKU: A0.503131 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Contest,Fes...
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2 Pianos,4 Hands,Piano Duet - Digital Download SKU: A0.503131 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Contest,Festival,Instructional. Score. 31 pages. Published by Pietro Prugna (A0.503131). This was originally for Double Violin with String Orchestra. This is an arrangement for 2 Pianos. For Piano 1, right hand plays Violin I Solo while left hand plays Strings (violin and viola). For Piano 2, right hand plays Violin II Solo while left hand plays Basso Continuo (Cello). In a few bars, minor adjustments made to prevent overlapping. The pdf contains Full Score and Set of Parts (Piano 1, Piano 2).
$1.99 ≈
1.80€
Concerto for Oboe d’amore in E Minor, Op. 9 No. 8 and String Orchestra
Concerto for Oboe d’amore in E Minor, Op. 9 No. 8 and String Orchestra
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String Orchestra
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ADVANCED
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Classical
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Tomaso Albinoni
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Don Werdick (1946 - )
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Concerto for Oboe d’amore in
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Chamber Ensemble of Minnesota, Inc.
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SheetMusicPlus
String Orchestra - Level 5 - Digital Download SKU: A0.955164 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score a...
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String Orchestra - Level 5 - Digital Download SKU: A0.955164 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 70 pages. Chamber Ensemble of Minnesota, Inc. #5884095. Published by Chamber Ensemble of Minnesota, Inc. (A0.955164). Complete score and parts of the Concerto for Oboe in G Minor, Op. 9, No. 8 and String Orchestra, composed in 1722 by T. Albinoni, arranged in E minor for Oboe d’amore and string orchestra by D Werdick. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 10 minutes, 12 seconds Full Score + Parts: Oboe d’amore, Violin I, Violin II, Viola, Cello, Double Bass During the Baroque period (c. 1600 to 1750) music written in the Italian style, and German music to a lesser degree, scores and solo parts contain little (if any) information about elements like articulation, ornamentation or dynamics, so the soloists and ensemble players needed to make their own informed choices before each performance. This arrangement for Oboe d’amore offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music ... 2020 Chamber Ensemble of Minnesota, Inc.
$17.00 ≈
15.38€
Concerto for English horn in G Minor, Op. 9 No. 8 and String Orchestra
Concerto for English horn in G Minor, Op. 9 No. 8 and String Orchestra
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String Orchestra
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ADVANCED
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Tomaso Albinoni
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Don Werdick (1946 - )
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Concerto for English horn in G
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Chamber Ensemble of Minnesota, Inc.
#
SheetMusicPlus
String Orchestra - Level 5 - Digital Download SKU: A0.955162 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score a...
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String Orchestra - Level 5 - Digital Download SKU: A0.955162 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 70 pages. Chamber Ensemble of Minnesota, Inc. #5869923. Published by Chamber Ensemble of Minnesota, Inc. (A0.955162). Complete score and parts of the Concerto for Oboe in G Minor, Op. 9, No. 8 and String Orchestra , composed in 1722 by T. Albinoni, arranged for English horn by D Werdick. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 10 minutes, 12 seconds Full Score + Parts: English horn, Violin I, Violin II, Viola, Cello, Double Bass During the Baroque period (c. 1600 to 1750) music written in the Italian style, and German music to a lesser degree, scores and solo parts contain little (if any) information about elements like articulation, ornamentation or dynamics, so the soloists and ensemble players needed to make their own informed choices before each performance. This arrangement for English horn offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music ... 2020 Chamber Ensemble of Minnesota, Inc.
$17.00 ≈
15.38€
A. Vivaldi: Cello Concerto in D Minor, RV406
A. Vivaldi: Cello Concerto in D Minor, RV406
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE/ADVANCED
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Classical
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Antonio Vivaldi
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Clara Obsidian
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A. Vivaldi: Cello Concerto in
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Clara Obsidian
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.871404 Composed by Antonio Vivaldi. Arranged by Clara O...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.871404 Composed by Antonio Vivaldi. Arranged by Clara Obsidian. Baroque,Concert,Standards. Score and parts. 59 pages. Clara Obsidian #6196365. Published by Clara Obsidian (A0.871404). Cello Concerto in D minor, RV 406 by Antonio VivaldiRelated work: Bassoon concerto in D minor, RV 481 (1st movement)I. Allegro non moltoII. AndanteIII. MinuetA beautiful work with an emphatic opening and equally emphatic first solo entry in Allegro, followed by an Andante in which the cello emerges in G minor, with triplet figuration and a final Minuet to that is broadly tripartite in structure, preserving something of the form of the title.Arranged for Cello Solo and Strings (Quartet, Orchestra or Ensemble) with optional Double Bass parts-------------------Full Score and Parts
$12.99 ≈
11.76€
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Concerto in A Minor for Double Bass and Orchestra
