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You've selected:
Three String Etude
Sheetmusic to print
15 sheet music found
<
1
Etude for Strings in G Major - For Elementary String Orchestra
Etude for Strings in G Major - For Elementary String Orchestra
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String Orchestra
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BEGINNER
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Classical
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Mark D Hettle
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Etude for Strings in G Major -
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Goomba Publishing Company
#
SheetMusicPlus
String Orchestra - Level 1 - Digital Download SKU: A0.908698 Composed by Mark D Hettle. Classical. Score and parts. 11 pages. Goomba Publishing Company (...
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String Orchestra - Level 1 - Digital Download SKU: A0.908698 Composed by Mark D Hettle. Classical. Score and parts. 11 pages. Goomba Publishing Company (GPC) #6574241. Published by Goomba Publishing Company (GPC) (A0.908698). Etude for Strings in G Major is a composition written for elementary string orchestra. Written in 1st position only, and voiced in three-part harmony with the viola doubled in the 2nd violin, and the cello doubled in the bass for orchestras with incomplete instrumentation. I hope you and your string orchestra will enjoy rehearsing and performing my composition. Thank you!
$12.00 ≈
10.82€
ETUDE IN G MAJOR (med. easy)
ETUDE IN G MAJOR (med. easy)
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String Orchestra
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BEGINNER
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Vincent Vitale
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ETUDE IN G MAJOR
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Vincent Vitale
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SheetMusicPlus
String Orchestra - Level 1 - Digital Download SKU: A0.1264102 Composed by Vincent Vitale. Classical,Contest,Festival,Instructional,Traditional. Score and...
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String Orchestra - Level 1 - Digital Download SKU: A0.1264102 Composed by Vincent Vitale. Classical,Contest,Festival,Instructional,Traditional. Score and Parts. 10 pages. Vincent Vitale #857016. Published by Vincent Vitale (A0.1264102). Â Etude In G Major...by Vincent Vitale is a medium easy composition for elementary students. Â You will find this composition keeps all instruments in 1st position and utilizes three part harmony that benefits ensembles lacking adequate instrumentation. Â Viola and 2nd violin are doubled as are cello and contrabass. This is a very playable and full sounding composition. You can also use this opportunity to teach your students about D.C. al Coda. If this composition appeals to you please consider the many others in this string series. I trust you, your students and audience will enjoy this piece and as always I thank you for your consideration. Â I wish you and your students much musical success......Copyright 2023
$13.50 ≈
12.18€
Practising Etudes
Practising Etudes
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Cello
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INTERMEDIATE
#
Studies
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Practising Etudes
#
Schott Music - Digital
#
SheetMusicPlus
Cello - intermediate - Digital Download The Basic of Cello technique in selected etudes. This edition: Sheet music. Essential Exercises. Downloadable. Op. ...
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Cello - intermediate - Digital Download The Basic of Cello technique in selected etudes. This edition: Sheet music. Essential Exercises. Downloadable. Op. 1. Schott Music - Digital #Q50403. Published by Schott Music - Digital
Studies play an important role in musical instrument training. Gerhard Mantel's new edition 'Etuden uben' [Practising studies] (3 volumes) complements his previous successful book 'Cello uben' (ED 8714). The basics of cello technique are worked on in selected studies, with the focus being not only on the ability to learn a technically and musically oriented text within a reasonable time but also on the solution of certain problems typical of the cello. Vol. 1 covers aspects ranging from the orientation on the fingerboard via changes of position, vibrato and trills to changes of strings and double stops. Vol. 2 deals with fingerings, whole-bow stroke, dynamics, articulation and types of bowing, among others. The final volume contains studies on legato, arpeggios, chords, martellato, staccato, spiccato and changes of rhythm. The accompanying volume of commentaries (for all three volumes) describes in detail the methodological practising processes.
$18.99 ≈
17.13€
Intermediate Music for Three, Volume 1, Part 1 Alto Sax in Eb 52115DD
Intermediate Music for Three, Volume 1, Part 1 Alto Sax in Eb 52115DD
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Various
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Daniel Kelley
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(Beethoven) 
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Intermediate Music for Three,
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Last Resort Music Publishing
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SheetMusicPlus
Small Ensemble - Level 3 - Digital Download SKU: A0.530268 Composed by Various. Arranged by Daniel Kelley. 20th Century,Classical,Instructional,Romantic ...
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Small Ensemble - Level 3 - Digital Download SKU: A0.530268 Composed by Various. Arranged by Daniel Kelley. 20th Century,Classical,Instructional,Romantic Period,Standards. Score and parts. 44 pages. Last Resort Music Publishing #3221033. Published by Last Resort Music Publishing (A0.530268). Part 1 for Eb Alto Saxophone ~ An incredible collection of 35 arrangements for strings, woodwinds, saxophones and piano - these mix and match trios allow the performer to pick the instrumentation. Includes works by Beethoven, Chopin, Saint-Saens, Tchaikovsky and more! A versatile must-have for any musician, Intermediate Music for Three is perfect for the blossoming musician and is appropriate for recitals, concerts, and any chamber music gatherings. Intermediate Music for Three progresses to the same difficulty level as the Music for Three Series. Parts are available separately or may be purchased as sets. The keyboard/guitar part encompasses both parts 2 and 3. Therefore, the arrangements could be played as a piano trio, or an entire trio could play with a pianist - as long as Part 1 is being played. 3 Volumes are available. Table of ContentsAllegro (Bach) Lento Affettuoso (Bach) Bagatelle from Bagatelles, Op. 119 #4 (Beethoven) Ecossaise from Ecossaise in G (Beethoven) Ecossaise in Eb from Six Ecossaises, #1 (Beethoven) Symphony #7 in A Major, Theme from Second Movement (Beethoven) Etude from Etude in E Major, Op. 10 #3 (Chopin) School Days When We Were A Couple Of Kids (Edwards, Gus & Will Cobb) Norwegian Dance Op. 35 #2 (Grieg) Fughette in C (Handel) Fugue in D (Handel) The Water Music Suite in G, 4 movements (Handel) Toy Symphony, 3 Movements (Haydn)Andantino from Andantino in Eb, K 236 (Mozart) Der Vogelfanger Bin Ich Ja - Papageno's Aria from The Magic Flute (Mozart) Hopak from The Fair at Sorochinsk (Mussorgsky) Shine On, Harvest Moon (Norworth & Bayes-Norworth) Take Me Out To The Ball Game (Norworth & Von Tilzer) Minuet in G from Op. 14 #1 (Paderewski) Fossils from Carnival of the AnimalsI (Saint-Saens) Soldier's March from Album for the Young, Op. 39 #2 (Schumann) Song of Spring from Album for the Young, Op. 68 #15 (Schumann) Valse Allemande from Carnaval, Op. 9 #16 (Schumann) Annie Laurie (Scottish Folk Song) Polka Marianka, komm und tanz from Die Fledermaus (Strauss) Radetzky March, Op. 228 (Strauss) Fantasie from Fantasias from Harpsichord, #14 (Telemann) Italian Song from Album for the Young, Op. 39 #15 (Tschaikovsky) Polka from Album for the Young, Op. 39 #2 (Tschaikovsky) Russian Song from Album for the Young, Op. 39 #11 (Tschaikovsky)www.lastresortmusic.com Visit our website for more information!
$20.00 ≈
18.04€
Intermediate Music for Three, Volume 1, Part 2 Tenor Sax in Bb 52125DD
Intermediate Music for Three, Volume 1, Part 2 Tenor Sax in Bb 52125DD
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Various
#
Daniel Kelley
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Intermediate Music for Three,
#
Last Resort Music Publishing
#
SheetMusicPlus
Level 3 - Digital Download SKU: A0.530269 Composed by Various. Arranged by Daniel Kelley. 20th Century,Classical,Instructional,Romantic Period,Standards....
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Level 3 - Digital Download SKU: A0.530269 Composed by Various. Arranged by Daniel Kelley. 20th Century,Classical,Instructional,Romantic Period,Standards. 44 pages. Last Resort Music Publishing #3221035. Published by Last Resort Music Publishing (A0.530269). Part 2 for Bb Tenor Sax An incredible collection of 35 arrangements for strings, woodwinds, saxophones and piano - these mix and match trios allow the performer to pick the instrumentation. Includes works by Beethoven, Chopin, Saint-Saens, Tchaikovsky and more! A versatile must-have for any musician, Intermediate Music for Three is perfect for the blossoming musician and is appropriate for recitals, concerts, and any chamber music gatherings. Intermediate Music for Three progresses to the same difficulty level as the Music for Three Series. Parts are available separately or may be purchased as sets. The keyboard/guitar part encompasses both parts 2 and 3. Therefore, the arrangements could be played as a piano trio, or an entire trio could play with a pianist - as long as Part 1 is being played. 3 Volumes are available. Table of ContentsAllegro (Bach) Lento Affettuoso (Bach) Bagatelle from Bagatelles, Op. 119 #4 (Beethoven) Ecossaise from Ecossaise in G (Beethoven) Ecossaise in Eb from Six Ecossaises, #1 (Beethoven) Symphony #7 in A Major, Theme from Second Movement (Beethoven) Etude from Etude in E Major, Op. 10 #3 (Chopin) School Days When We Were A Couple Of Kids (Edwards, Gus & Will Cobb) Norwegian Dance Op. 35 #2 (Grieg) Fughette in C (Handel) Fugue in D (Handel)  The Water Music Suite in G, 4 movements (Handel) Toy Symphony, 3 Movements (Haydn)Andantino from Andantino in Eb, K 236 (Mozart) Der Vogelfanger Bin Ich Ja - Papageno's Aria from The Magic Flute (Mozart) Hopak from The Fair at Sorochinsk (Mussorgsky) Shine On, Harvest Moon (Norworth & Bayes-Norworth) Take Me Out To The Ball Game (Norworth & Von Tilzer) Minuet in G from Op. 14 #1 (Paderewski) Fossils from Carnival of the AnimalsI  (Saint-Saens) Soldier's March from Album for the Young, Op. 39 #2 (Schumann) Song of Spring from Album for the Young, Op. 68 #15 (Schumann) Valse Allemande from Carnaval, Op. 9 #16 (Schumann) Annie Laurie (Scottish Folk Song) Polka Marianka, komm und tanz from Die Fledermaus (Strauss) Radetzky March, Op. 228 (Strauss) Fantasie from Fantasias from Harpsichord, #14 (Telemann) Italian Song from Album for the Young, Op. 39 #15 (Tschaikovsky) Polka from Album for the Young, Op. 39 #2 (Tschaikovsky) Russian Song from Album for the Young, Op. 39 #11 (Tschaikovsky)www.lastresortmusic.com Visit our website for more information!
$20.00 ≈
18.04€
D Minor Etude for Clarinet, Flute (or Oboe or Violin), and Cello (or Bassoon)
D Minor Etude for Clarinet, Flute (or Oboe or Violin), and Cello (or Bassoon)
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Classical
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Carl Baermann
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Ray Kamada
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D Minor Etude for Clarinet, Fl
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The Lone Arranger
#
SheetMusicPlus
Small Ensemble Bassoon,Cello,Clarinet,Flute,Oboe,Violin - Level 3 - Digital Download SKU: A0.757329 Composed by Carl Baermann. Arranged by Ray Kamada. Ba...
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Small Ensemble Bassoon,Cello,Clarinet,Flute,Oboe,Violin - Level 3 - Digital Download SKU: A0.757329 Composed by Carl Baermann. Arranged by Ray Kamada. Baroque. Score and parts. 8 pages. The Lone Arranger #3141313. Published by The Lone Arranger (A0.757329). Largely polyphonic, i.e., three melody lines interwoven to create a trio. The clarinet line comes from a study by 19th century clarinetist Carl Baermann (1810 - 1885) as rendered in David Hite's Melodious and Progressive Studies for Clarinet. So, the main melody will be familiar to many clarinetists, as well as their students. Can be performed as either a woodwind or mixed wind/strings trio. Baermann lived and wrote during the classical and romantic eras, yet the piece is distinctly baroque in character. The accompanying mp3 employs my atypical yet preferred sound blend: clarinet, flute, and cello.
$5.99 ≈
5.40€
36 Melodious and Easy Studies
36 Melodious and Easy Studies
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Viola
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INTERMEDIATE
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Studies
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Charles Dancla
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36 Melodious and Easy Studies
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Schott Music - Digital
#
SheetMusicPlus
Viola - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This edition: Sheet music. Etudes, Studies, Study works. Essential Ex...
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Viola - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This edition: Sheet music. Etudes, Studies, Study works. Essential Exercises. Downloadable. Op. 84. Schott Music - Digital #Q22681. Published by Schott Music - Digital
Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.
Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form.
Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.
A little dictionary of the musical and technical terms in this volume shall make their meaning accessible to young players in particular.
$16.99 ≈
15.32€
Gymnastics on the Violin
Gymnastics on the Violin
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Violin
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EASY
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Jennie Lou Klim
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#
Gymnastics on the Violin
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Jennie Lou Klim
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SheetMusicPlus
Violin Solo - Level 2 - Digital Download SKU: A0.953779 Composed by Jennie Lou Klim. Contemporary,Instructional. 23 pages. Jennie Lou Klim #6343419. Publ...
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Violin Solo - Level 2 - Digital Download SKU: A0.953779 Composed by Jennie Lou Klim. Contemporary,Instructional. 23 pages. Jennie Lou Klim #6343419. Published by Jennie Lou Klim (A0.953779). Gymnastics on the Violin is a collection of 1st position etudes and serves as a sequel to the One Step At A Time series or any beginning method. Each etude is designed to develop fluency with concentration on basic finger patterns. The progression of keys is arranged in a logical and sequential order, and includes etudes with: The Two-Three Pattern beginning on the open string The One-Two Pattern beginning with the 3rd finger The Three- Four Pattern beginning with the 1st finger The Tri-Tone Pattern beginning with the 2nd finger A combination of patterns in etudes covering two octaves
$6.99 ≈
6.30€
Three-String Etude
Three-String Etude
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Classical
#
M
#
Three-String Etude
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Michael DiBernardo Jr.
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SheetMusicPlus
Acoustic Guitar - Level 1 - Interactive Download SKU: A0.1433219 Composed by M. DiBernardo. This edition: Interactive Download. Classical. Score. 2 pages...
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Acoustic Guitar - Level 1 - Interactive Download SKU: A0.1433219 Composed by M. DiBernardo. This edition: Interactive Download. Classical. Score. 2 pages. Duration 106. Michael DiBernardo Jr. #aMc658aPWs8uxZwy4Vsyo. Published by Michael DiBernardo Jr. (A0.1433219). Key: C major.
$3.99 ≈
3.60€
Unusual Studies
Unusual Studies
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Guitar
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INTERMEDIATE
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Studies
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Oleg Boyko
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Unusual Studies
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Oleg Boyko
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SheetMusicPlus
Guitar - Intermediate - Digital Download Composed by Oleg Boyko. 21st Century, Method, Etudes and Exercises, Repertoire, Classroom. Solo Part. 45 pag...
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Guitar - Intermediate - Digital Download Composed by Oleg Boyko. 21st Century, Method, Etudes and Exercises, Repertoire, Classroom. Solo Part. 45 pages. Published by Oleg Boyko
There is plenty of music sheet for classical guitar of various styles, directions and levels of difficulty. There is also enough methodical literature for all tastes. However, every year there are appearing new schools, methodical collections and exercises. That’s why the art of playing classical guitar is not standing still.
During my pedagogical activity rather often I faced the problem of searching or creating small exercises for a particular technique and solution of a particular problem. What didn’t suit me in the existing studies? First of all, the monotony of technical material (the accent only on the left hand technique of a performer, while the concentration of sound control is mostly in the right hand; a limited quantity of technical methods: arpeggios, chords, passagework technique). Secondly, it’s an amount of musical material. As a rule, the main efforts were aimed to memorize the text, which distracted from the very purpose of etudes, the work on a certain type of technical difficulties.
That is how the collection «Unusual Studies» appeared.
What is their «singularity»?
The collection is conditionally divided into several sections in the order of increasing the complexity of material, and it concludes with three «Concert Studies». They are distinguished by a more developed emotional atmosphere and rather high level of complexity and size. These studies require a certain level of preparation and can diversify a performer’s concert program. Nevertheless, they are only an addition to the basic material, which is focused primarily on the elementary and intermediate levels of training.
When it comes to the “singularity”, focus is shifted to the right hand, with the detailed fingering of the right hand. The fingers «p» and «a» are introduced more actively, paying attention to the alignment of their sound, attack power. It is necessary to strive for full equality of all fingers of the right hand, using fingers «p» and «a» not only when playing bass and melody, but also in arpeggio, passaggio technique (in the middle of an arpeggio or passaggio).
- learning to use touches in a high contrast while playing: staccato/legato. This, in my opinion, is extremely necessary to already assimilate at the initial stage of training.
- active use of the alternation in the musical material of open and closed strings. Control over the strength of the sound of open strings, timbre ratio.
- using the high positions of the guitar’s fingerboard with open strings without excessive physical effort .
- rather small size of studies. This allows to concentrate directly on the technical difficulties, rather than on memorizing.
I hope that this collection will help you to achieve the desired result faster and more effectively, will bring not only methodical benefit, but also aesthetic pleasure.
$15.00 ≈
13.53€
Quintabile
Quintabile
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Harp
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INTERMEDIATE
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Barbara Semmann
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Quintabile
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Afghan Press Music for the Harp
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SheetMusicPlus
Harp - Level 3 - Digital Download SKU: A0.797427 Composed by Barbara Semmann. Concert,Folk,New Age. Score. 14 pages. Afghan Press Music for the Harp #484...
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Harp - Level 3 - Digital Download SKU: A0.797427 Composed by Barbara Semmann. Concert,Folk,New Age. Score. 14 pages. Afghan Press Music for the Harp #4841115. Published by Afghan Press Music for the Harp (A0.797427). Five tunes, three of them original, (Capriccio, Eight Note Etude and Cantibile), and two are the folk songs (All the Pretty Little Horses and Skye Song) nicely arranged. Not difficult, well-written and soothing to play and hear. In the keys of D, C, G, Am. These could be played on a 29-string harp with a low G.Table of Contents:All the Pretty Horses, Capriccio, Eight Note Etude, Cantabile, The Skye Song.
$8.00 ≈
7.22€
Guitar Sonata No. 5 in G major (open G tuning)
Guitar Sonata No. 5 in G major (open G tuning)
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Guitar
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ADVANCED
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Contemporary
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Jeremiah Lawson
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Guitar Sonata No. 5 in G major
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Jeremiah Lawson
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.985325 Composed by Jeremiah Lawson. Contemporary. Individual part. 9 pages. Jeremiah Lawson #6012233. Pu...
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Solo Guitar - Level 5 - Digital Download SKU: A0.985325 Composed by Jeremiah Lawson. Contemporary. Individual part. 9 pages. Jeremiah Lawson #6012233. Published by Jeremiah Lawson (A0.985325). Guitar Sonata No. 5 in G major is open G tuning. It is in three movements and performance time is abut 10 to 10:15. Movements 1 and 3 are to be played using a glass or bronze slide worn on the fourth finger. The movements are:1. Hobo Spider Blues2. Ragged) and Sor(e) (after Sor's Op. 29, 10)3. Ricardo de YakimaThe first movement is a set of bottleneck technique variations on an original blues theme. Each variation explores different timbrel possibilities such as ordinary tone, pizzicato, sul tasto, and ponticello before recapitulating the original form of the blues theme.The second movement reconceives Sor's study in E flat from his Op. 29 as a ragtime sonata form, with a developmental intrusion from another Sor etude. This ragtime sonata leads attaca into the final movement.The third movement is another set of variations, this time on a two-step dance theme cast in the form of a menuet. It was common in early 19th century guitar sonatas to end with a menuet and so I opted to end with a menuet with variations. In sharp contrast to my first guitar sonata, which drew inspiration from late Beethoven piano sonatas and late Shostakovich string quartets, the inspirations here were Muddy Waters, Fernando Sor, Scott Joplin, Johnny Cash, and Don Helms.This sonata was also recorded by Daniel Estrem on Estrem Plays Lawson, which was released through Magnatune in 2016. .
$9.95 ≈
8.97€
Bass Notes Starter
Bass Notes Starter
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Bass guitar
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BEGINNER
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Chris O'Mara
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Bass Notes Starter
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comaramusic
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SheetMusicPlus
Bass Guitar - Level 1 - Interactive Download SKU: A0.480800 Composed by Chris O'Mara. This edition: Interactive Download. Children,Classical,Country,Folk...
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Bass Guitar - Level 1 - Interactive Download SKU: A0.480800 Composed by Chris O'Mara. This edition: Interactive Download. Children,Classical,Country,Folk,Hip-Hop,Jazz,Latin,Pop,Praise & Worship,Standards,World. Score. 3 pages. Duration 32. Comaramusic #7Ifyl2xcqmCQ4yeinOCR4f. Published by comaramusic (A0.480800). Key: C major.Learn the first three natural notes on each bass string. The order of notes in traditional Western music is labelled using only 7 alphabet letters A B C D E F G. See how many words you can spell and play. Have fun checking out my other bass etudes and tabs. Contact me at comaramusic@gmail.com for custom compositions, arrangements and lessons for seven instruments, songwriting & music theory. Thank you!
$3.00 ≈
2.71€
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 ≈
21.64€
36 Melodious and Easy Studies
36 Melodious and Easy Studies
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Violin
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INTERMEDIATE
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Studies
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Charles Dancla
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36 Melodious and Easy Studies
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Schott Music - Digital
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SheetMusicPlus
Violin - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This edition: Sheet music. Essential Exercises. Downloadable. Op. 84...
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Violin - intermediate - Digital Download Composed by Charles Dancla (1817-1907). This edition: Sheet music. Essential Exercises. Downloadable. Op. 84. Schott Music - Digital #Q11448. Published by Schott Music - Digital
Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody'. He knew, in a unique way, how to implement the principle 'no music without technique, no technique without music' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.
Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form. Those who prefer Dancla's somewhat easier original preliminary exercises will find them in the appendix.
$16.99 ≈
15.32€
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