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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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CLARINETTE
CLAVECIN
CLOCHES
COR
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CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Air from Suite No. 3
Non classifié
22
Piano & claviers
Piano seul
14
Accompagnement Piano
2
Orgue
2
Piano Trio: piano, violon, violoncelle
2
1 Piano, 4 mains
1
Guitares
Guitare
3
Guitare notes et tablatures
2
2 Guitares (duo)
2
Basse electrique
1
Voix
Chorale SATB
1
Vents
Flûte traversière et Piano
9
Clarinette et Piano
7
Quatuor de Saxophones: 4 saxophones
7
Hautbois, Piano (duo)
5
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Saxophone Alto et Piano
4
Clarinette
4
Saxophone Tenor et Piano
3
Flûte traversière
3
2 Flûtes traversières (duo)
3
Flûte, Hautbois, Clarinette, Basson
3
2 Clarinettes (duo)
3
Saxophone Soprano et Piano
3
Flûte et Guitare
2
2 Saxophones (duo)
2
Hautbois
2
Quatuor de Clarinettes: 4 clarinettes
2
Quintette de Saxophone: 5 saxophones
1
Clarinette Basse
1
Ensemble de Flûtes
1
2 Saxophones, Piano
1
Cor anglais, Piano
1
Saxophone Alto
1
Flûte, Clarinette (duo)
1
Saxophone Baryton, Piano
1
Flûte, Hautbois, Clarinette (trio)
1
Quatuor de Flûtes : 4 flûtes
1
+ 22 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
8
Trompette, Piano
7
Cor et Piano
6
Trompette
5
Trombone et Piano
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Trombone
3
Cor
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Tuba
2
Tuba et Piano
2
2 Trombones (duo)
2
2 Trompettes (duo)
2
Quatuor de cuivres: 4 trombones
1
Cor anglais, Piano
1
Ensemble de Trompettes
1
Ensemble de Cors
1
+ 12 instrumentations
Retracter
Cordes
Violon et Piano
14
Quatuor à cordes: 2 violons, alto, violoncelle
12
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8
Alto, Piano
6
Violoncelle
5
2 Violons (duo)
4
Violon, Violoncelle (duo)
3
Violon
3
Alto seul
3
2 Altos (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Violon, Alto (duo)
2
Trio à Cordes: violon, alto, violoncelle
2
Trio à Cordes: 3 violoncelles
1
Piano Trio: Violon, Alto, Piano
1
2 Violoncelles (duo)
1
Violoncelle , Guitare (duo)
1
+ 12 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
9
Ensemble de cuivres
3
Orchestre
2
Cloches
1
Orchestre d'harmonie
1
Orchestre de chambre
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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Vous avez sélectionné:
Air from Suite No. 3
intermédiaire
2 Violons (duo)
Partitions à imprimer
4 partitions trouvées
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1
Air on the G String
#
2 Violons (duo)
#
INTERMÉDIAIRE
#
Classique
#
Johann Sebastian Bach
#
Mark Phillips
#
Air on the G String
#
A. J. Cornell Publications
#
SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.691742 Composed by Johann Sebastian Bach. Arranged by Mark Phillips. Baroque. 2 pages. A. J. Cornell Publications...
(+)
Violin Duet Violin - Level 3 - SKU: A0.691742 Composed by Johann Sebastian Bach. Arranged by Mark Phillips. Baroque. 2 pages. A. J. Cornell Publications #4987969. Published by A. J. Cornell Publications (A0.691742). Bach's Air on the G String (from Orchestral Suite No. 3) for violin duet.
$1.99
Air on the G String for Violin Duet
#
2 Violons (duo)
#
INTERMÉDIAIRE
#
Classique
#
Johann Sebastian Bach
#
B
#
Air on the G String for Violin
#
Ben Dockery
#
SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.694398 Composed by Johann Sebastian Bach. Arranged by B. C. Dockery. Baroque,Classical,Concert,Graduation,Wedding...
(+)
Violin Duet Violin - Level 3 - SKU: A0.694398 Composed by Johann Sebastian Bach. Arranged by B. C. Dockery. Baroque,Classical,Concert,Graduation,Wedding. 4 pages. Ben Dockery #6401553. Published by Ben Dockery (A0.694398). From the second movement of Bach's Orchestral Suite No. 3, this is Air on the G String: arranged for violin duet. Great for weddings, recitals, parties, and ceremonies of all kinds.
$3.99
Six Violin Duets, Op. 1
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2 Violons (duo)
#
INTERMÉDIAIRE
#
Classique
#
William Shield
#
Robert Hoskins
#
Six Violin Duets, Op. 1
#
Artaria Editions
#
SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.1488279 Composed by William Shield. Arranged by Robert Hoskins. Classical. 89 pages. Artaria Editions #1065167. P...
(+)
Violin Duet Violin - Level 3 - SKU: A0.1488279 Composed by William Shield. Arranged by Robert Hoskins. Classical. 89 pages. Artaria Editions #1065167. Published by Artaria Editions (A0.1488279). Artaria Editions AE387The London premires of Opp.1 and 2 probably took place at William Napier's morning concerts held at the Thatched House Tavern in St. James's Street. The performers at this venue were gentlemen amateurs backed with some professional assistance (possibly including Shield) and the audience consisted largely of nobility (but not ladies) on their way to court. Napier's concerts were more than a vehicle for airing newly published works or composers, and when it was proposed to revive the series in 1792, the Morning Chronicle of 28 January recalled that they had served to improve the taste and science of the amateur as well as introducing professional merit to the highest patronage. Shield's duets, expressly written with talented amateurs in mind (according to the title-page of Op.2), exactly suited the repertoire of the morning concerts.Both sets of duets are neatly engineered with a violinist's grasp of technique and articultion, and with each part sharing in the musical interest. The prevailing spirit of Op. 1 is Italianate and there are many attractive details to be heard. The amoroso movement of No.1, for example, with its ardent episodes and the hunting rondo of No.2 which begins with the representation of distant horn calls and later depicts a chromatically wounded prey. If the opening of No. 3 gives the impression of an exotic dance, including the audible thrum of a guitar or harp, then the rondo of No.4 can be imagined as a spring song animated with birds and breezes. The opening of No.5 is as propulsive as a theatre overture whilst No.6, written for either violins or flutes, assumes a suitably fluty tone. Op.2 is an altogether more compact set which sharpens the focus on elements already noticed in Op.1. Shield employs a variety of forms including minuet, variations, rondo and canon; and he also adopts vocal styles including lyric song (for the affettuoso movement of No.1) and arioso (for the opening adagio of No.2). The first movement of No. 3 sounds like a mini stage overture whilst the adagio of No. 5 can be heard as a melting duet. Both movements of No. 4 adhere to folk style, incorporating hurdygurdy like figurations and simulated versions of the northern pipe-tunes which Shield himself so avidly collected. This edition presents as faithfully as possible the intentions of Napier's source. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimize confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.
$72.00
Six Violin Duets, Op. 2
#
2 Violons (duo)
#
INTERMÉDIAIRE
#
Classique
#
William Shield
#
Robert Hoskins
#
Six Violin Duets, Op. 2
#
Artaria Editions
#
SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.1488280 Composed by William Shield. Arranged by Robert Hoskins. Classical. 59 pages. Artaria Editions #1065168. P...
(+)
Violin Duet Violin - Level 3 - SKU: A0.1488280 Composed by William Shield. Arranged by Robert Hoskins. Classical. 59 pages. Artaria Editions #1065168. Published by Artaria Editions (A0.1488280). Artaria Editions AE388The London premires of Opp.1 and 2 probably took place at William Napier's morning concerts held at the Thatched House Tavern in St. James's Street. The performers at this venue were gentlemen amateurs backed with some professional assistance (possibly including Shield) and the audience consisted largely of nobility (but not ladies) on their way to court. Napier's concerts were more than a vehicle for airing newly published works or composers, and when it was proposed to revive the series in 1792, the Morning Chronicle of 28 January recalled that they had served to improve the taste and science of the amateur as well as introducing professional merit to the highest patronage. Shield's duets, expressly written with talented amateurs in mind (according to the title-page of Op.2), exactly suited the repertoire of the morning concerts.Both sets of duets are neatly engineered with a violinist's grasp of technique and articultion, and with each part sharing in the musical interest. The prevailing spirit of Op. 1 is Italianate and there are many attractive details to be heard. The amoroso movement of No.1, for example, with its ardent episodes and the hunting rondo of No.2 which begins with the representation of distant horn calls and later depicts a chromatically wounded prey. If the opening of No. 3 gives the impression of an exotic dance, including the audible thrum of a guitar or harp, then the rondo of No.4 can be imagined as a spring song animated with birds and breezes. The opening of No.5 is as propulsive as a theatre overture whilst No.6, written for either violins or flutes, assumes a suitably fluty tone. Op.2 is an altogether more compact set which sharpens the focus on elements already noticed in Op.1. Shield employs a variety of forms including minuet, variations, rondo and canon; and he also adopts vocal styles including lyric song (for the affettuoso movement of No.1) and arioso (for the opening adagio of No.2). The first movement of No. 3 sounds like a mini stage overture whilst the adagio of No. 5 can be heard as a melting duet. Both movements of No. 4 adhere to folk style, incorporating hurdygurdy like figurations and simulated versions of the northern pipe-tunes which Shield himself so avidly collected. This edition presents as faithfully as possible the intentions of Napier's source. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimize confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.
$72.00
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Air from Suite No. 3
