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From The Inside Out Violin 1
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You've selected:
From The Inside Out Violin 1
Sheetmusic to print
14 sheet music found
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1
From The Inside Out - Violin 1
From The Inside Out - Violin 1
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Violin (band part)
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Sacred music
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Hillsong
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Heather Sorenson
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From The Inside Out - Violin 1
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.251944 By Hillsong. By Joel Houston. Arranged by Heather Sorenson. Christian,Concert,Praise & Worship,Sacred. Choral Instrumenta...
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Digital Download SKU: HX.251944 By Hillsong. By Joel Houston. Arranged by Heather Sorenson. Christian,Concert,Praise & Worship,Sacred. Choral Instrumental Pak. 2 pages. Duration 240. Hal Leonard - Digital #114378. Published by Hal Leonard - Digital (HX.251944).
$7.00 ≈
6.49€
From The Inside Out
From The Inside Out
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Violin
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BEGINNER
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Gospel/Spiritual
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Sacred music
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Joel Houston
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Kevin Busse
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From The Inside Out
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Kevin Busse
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SheetMusicPlus
Violin Solo - Level 1 - Digital Download SKU: A0.601666 Composed by Joel Houston. Arranged by Kevin Busse. Christian,Gospel. 3 pages. Kevin Busse #351036...
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Violin Solo - Level 1 - Digital Download SKU: A0.601666 Composed by Joel Houston. Arranged by Kevin Busse. Christian,Gospel. 3 pages. Kevin Busse #3510369. Published by Kevin Busse (A0.601666). This is a simple transcription of From The Inside Out in the easy key of C for Violin
$4.99 ≈
4.63€
From the Inside Out - Violin 1
From the Inside Out - Violin 1
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Violin (band part)
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Sacred music
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Joel Houston
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J
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From the Inside Out - Violin 1
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.127371 Composed by Joel Houston. Arranged by J. Daniel Smith. Concert,Contemporary,Praise & Worship,Sacred. Choral Instrumental ...
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Digital Download SKU: HX.127371 Composed by Joel Houston. Arranged by J. Daniel Smith. Concert,Contemporary,Praise & Worship,Sacred. Choral Instrumental Pak. 4 pages. Duration 305. Hal Leonard - Digital #114378. Published by Hal Leonard - Digital (HX.127371).
$7.00 ≈
6.49€
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 ≈
22.24€
Bundle Of Joy
Bundle Of Joy
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Violin
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EASY
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Michael Giacchino
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Benzaiten Editions
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Bundle Of Joy
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Benzaiten Editions
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SheetMusicPlus
Violin Solo - Level 2 - Digital Download SKU: A0.1474544 Composed by Michael Giacchino. Arranged by Benzaiten Editions. 21st Century,Children,Contemporar...
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Violin Solo - Level 2 - Digital Download SKU: A0.1474544 Composed by Michael Giacchino. Arranged by Benzaiten Editions. 21st Century,Children,Contemporary,Film/TV,Pop. 1 pages. Benzaiten Editions #1051186. Published by Benzaiten Editions (A0.1474544). Hey there, music enthusiast! Ready to experience the delightful and heartwarming melodies of Bundle of Joy from Disney-Pixar's Inside Out? Let's make some music! 🎵Michael Giacchino • Bundle of Joy from Inside Out | violin sheet musicPerfect for beginners, concerts, family gatherings, or simply enjoying the beauty of movie music, this easy arrangement brings the enchanting spirit of Bundle of Joy to your fingertips. Spread joy and elevate your musical repertoire with this delightful piece! About 'Bundle of Joy' Bundle of Joy, composed by Michael Giacchino for the beloved movie Inside Out, captures the essence of joy and wonder. This piece, with its gentle and uplifting melody, perfectly reflects the emotional journey within the film, making it a favorite for both kids and adults alike.
$4.99 ≈
4.63€
MANX LIFE SUITE for STRING QUARTET
MANX LIFE SUITE for STRING QUARTET
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String Quartet: 2 violins, viola, cello
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EASY
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Trad & Alan Edgar
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MANX LIFE SUITE for STRING QUA
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Alan Edgar Ted Moon
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SheetMusicPlus
String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1334145 Composed by Trad & Alan Edgar. Folk,Traditional. 36 pages. Alan Edgar Ted Moon...
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String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1334145 Composed by Trad & Alan Edgar. Folk,Traditional. 36 pages. Alan Edgar Ted Moon #920362. Published by Alan Edgar Ted Moon (A0.1334145). Here'a suite about life in the Isle of Man based on Manx folk tunes and religious music.  All the harmonies and some decorations are mine. There are 5 movements. I MAINLY CELEBRATIONS:  I found all the melodies in The Mona Melodies, a group of traditional tunes (probably heard in Douglas) collected in 1820.  Hunt the Wren is a surprising, lively, traditional event on St Stephen's Day when villagers dance and sing round the town hoping for gifts. This tune is dorian.  A Lullaby in aeolian follows, then In Praise of Wine, in ionian, while at the same time fragments of the Lullaby are heard from inside a home.  The Wren group return.II FAITH Religious music  I assume could have been heard in Manx churches.  Two supposedly Celtic-style antiphon melodies from a 13th-century breviary from Caen  (a) The Holy Cross (b)  The Saints.  I made them into parallel organum with a drone.  Between them is an elaborate ancient melody (labelled Martyrs) for Psalm 80 (Lord, come and save us), which I found with Gaelic words.  I accompany with 3 more parts.  The whole movement is in dorian mode.III EMOTIONS:  Mourning for a Prince is a mixolydian tune also found in The Mona Melodies.  I give the tune to the viola.  In Praise of Beauty is sung by the cello in C major.  This tune is also found in The Mona Melodies, as Brown Oxen (Berry Dowin).  William Brown (Illiam Dhoan) (should be Dhone, I believe) is the air used for Love Lost and Found: again from The Mona Melodies.  I made it C minor at first (love lost) , then  the original version in F major (love found).IV CAR JUAN NAN (Let's All Dance) is a reel, from which I took a few bars and made it into a round.  My source was the book Ed. Colin Jerry Kiaull yn Theay 1:  Manx music and songs for folk instrumentsV WORK, REST and PLAY.  The Spinning Song is major/ionian, the Milking Song is major pentatonic, but my mooing bass part does not respect that: I found those tunes in  Kiaull yn Theay.  The Harvest Celebration Dance (Yn Mheillea) is from manxmusic.com.  The Goodnight Song (Arrane Oie Vie) was traditionally sung after a Christmas Eve event in the church, after more formal proceedings and after the singing of many gloomy vaguely religious songs there and a visit to the pub.  Collected from Mr E, Corteen and Mr T.  Taggart of Malew:  my source:  manxmusic.com.DURATION: 15 minutes.
$25.00 ≈
23.17€
Suite from Goldberg Variations (Score and Parts)
Suite from Goldberg Variations (Score and Parts)
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4 Oboes
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INTERMEDIATE/ADVANCED
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Classical
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Johann Sebastian Bach
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Kim Diehnelt
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Suite from Goldberg Variations
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Kim Diehnelt
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SheetMusicPlus
Small Ensemble Cello,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.809076 Composed by Johann Sebastian Bach. Arranged by Kim Diehnelt. Baroque,C...
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Small Ensemble Cello,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.809076 Composed by Johann Sebastian Bach. Arranged by Kim Diehnelt. Baroque,Concert. Score and parts. 55 pages. Kim Diehnelt #6604325. Published by Kim Diehnelt (A0.809076). Suite from J. S. Bach’s Goldberg VariationsArranged for Oboe Quartet(Oboe, Violin, Viola, Cello)This new ensemble arrangement for Oboe and String Trio brings Bach’s monumental work to life in a manner never heard before. It stretches our ear to hear deeply and imaginatively inside this timeless work of art, while paying tribute and illuminating the enduring mastery of Bach’s form, technique, and expressive beauty.The Suite includes the opening Aria, and six variations. No. 1, 10 (Fugetta), 25 (Adagio), 22 (Alla breve), 24 (Canone all’Ottava), and 30 (Quodlibet).Duration: About 25 minutes with repeats.The Aria is also available separately.
$38.00 ≈
35.22€
Durham Concerto
Durham Concerto
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Jon Lord
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Durham Concerto
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Schott Music - Digital
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SheetMusicPlus
Violin, cello, Northumbrian pipes, Hammond-organ and orchestra - Digital Download SKU: S9.Q52424 For violin, cello, Northumbrian pipes, hammond organ ...
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Violin, cello, Northumbrian pipes, Hammond-organ and orchestra - Digital Download SKU: S9.Q52424 For violin, cello, Northumbrian pipes, hammond organ and orchestra. Composed by Jon Lord. This edition: study score. Evening - architecture - dawn - architecture - cathedral - bagpipes - Durham - England - Great Britain - cathedral - Church - concerto - morning - afternoon - nocturne - Northumbrian pipes - program music - program music - students - Studies - Studies. Music Of Our Time. Downloadable, Study score. Duration 57' 0. Schott Music - Digital #Q52424. Published by Schott Music - Digital (S9.Q52424). The general inspiration for the music was an idea of Durham, garnered from two or three short visits and a reading of a short history – so a sort of “Durham of the mindâ€, a stylized Durham; ‘my’ Durham, if you will, imagined into music. However, the defining inspiration for the piece was the Cathedral. My first visit to Durham in 2001 saw me standing open-mouthed on Palace Green, and then in silent awe as I walked into that formidable magnificence inside. Most of the themes came from the days immediately following my first experience of this extraordinary, inspiring building. The feeling that the very stones and pillars themselves are imbued with centuries of prayer, with people’s joy, grief, despair, even anger; gratitude and hope. As the tunes and chords and sounds started to organize themselves in my mind and onto manuscript paper, I realized that I was writing a sort of “day in the life of Durhamâ€, and that the Cathedral would be its beginning, would be in its middle, and would be at its ending. The piece consists of six ‘pictures’ arranged into three parts – the morning, afternoon and evening of this imaginary Durham city. Jon Lord, 20173 (3. auch Picc.) · 2 · Engl. Hr. · Es-Klar. · 2 · Bassklar. · 2 · Kfg. - 4 · 3 (1. auch Flhr. ad lib., 3. auch Piccolotr.) · 3 · 1 - P. S. (Glsp. · Xyl. · Marimb. · Röhrengl. · Trgl. · Schlittengl. · häng. Beck. · Beckenpaar · Tamt. · Schellentr. · Tomt. · kl. Tr. · gr. Tr. · Woodbl.) (5 Spieler) - Cel. · Hfe. (ad lib.2) - Str. (16 · 14 · 12 · 10 · 8 - Minimum: 14 · 12 · 10 · 8 · 6).
$46.99 ≈
43.55€
Bundle Of Joy
Bundle Of Joy
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Violin
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EASY
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Children
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Film/TV
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Michael Giacchino
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Fernando Pereira
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Bundle Of Joy
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Nando Geraldes
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SheetMusicPlus
Violin Solo - Level 2 - Digital Download SKU: A0.1474182 Composed by Michael Giacchino. Arranged by Fernando Pereira. Children,Film/TV. 1 pages. Nando Ge...
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Violin Solo - Level 2 - Digital Download SKU: A0.1474182 Composed by Michael Giacchino. Arranged by Fernando Pereira. Children,Film/TV. 1 pages. Nando Geraldes #1051812. Published by Nando Geraldes (A0.1474182). This arrangement was written for violin students. Just the main theme from Disney Pixar's Motion Picture Inside Out.
$4.99 ≈
4.63€
Bundle Of Joy
Bundle Of Joy
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Violin
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INTERMEDIATE
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Children
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Film/TV
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Michael Giacchino
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Thiago Marconato
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Bundle Of Joy
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Thiago Marconato
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SheetMusicPlus
Violin Solo - Level 3 - Digital Download SKU: A0.1454765 Composed by Michael Giacchino. Arranged by Thiago Marconato. Children,Film/TV. 1 pages. Thiago M...
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Violin Solo - Level 3 - Digital Download SKU: A0.1454765 Composed by Michael Giacchino. Arranged by Thiago Marconato. Children,Film/TV. 1 pages. Thiago Marconato #1033834. Published by Thiago Marconato (A0.1454765). Sheet music for solo violin of Bundle of joy, theme from Inside Out, in G major (original key).
$4.99 ≈
4.63€
Do You Want To Build A Snowman?
Do You Want To Build A Snowman?
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Violin, Guitar (duet)
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BEGINNER
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Broadway
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Kristen Bell
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Ruth Roland
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Do You Want To Build A Snowman
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Ruth Roland
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet,Violin - Level 1 - Digital Download SKU: A0.894438 By Kristen Bell. By Kristen Anderson-Lopez and Robert Lopez...
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Instrumental Duet Guitar,Instrumental Duet,Violin - Level 1 - Digital Download SKU: A0.894438 By Kristen Bell. By Kristen Anderson-Lopez and Robert Lopez. Arranged by Ruth Roland. Broadway. Score and parts. 19 pages. Ruth Roland #2081997. Published by Ruth Roland (A0.894438). This arrangement of a sweet tune from Disney's Frozen is in a great key for strings and a manageable length for beginning players. It sounds good with the melody and any combination of other the other 4 parts. The 4 violin parts (from beginner to advanced beginner) and optional guitar, are detailed on the last page of the sample (see Look Inside, above). One part uses only open strings. Along with the full score and individual parts, each part is paired with the melody (and lyrics) to give more of a full picture if desired. 2016 Arranging Contest Entry Ruth Roland is a seasoned violin teacher (ASTA member) and grant-winning composer/arranger (ASCAP member). She is involved in educational outreach and performs with the group Treble Bass Movement.
$12.99 ≈
12.04€
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From The Inside Out Violin 1
