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--INSTRUMENTS--
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1
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10
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13
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5
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8
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2
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2
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2
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2
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2
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1
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1
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22
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
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
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ORGUE
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Violon et Piano
Partitions à imprimer
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Waltz in F, for Violin and Piano
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Violon et Piano
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AVANCÉ
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Moshe S
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Waltz in F, for Violin and Pia
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ArtsAhimsa
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SheetMusicPlus
Piano,Violin - Level 5 - SKU: A0.950822 Composed by Moshe S. Knoll. 20th Century,Concert,Contemporary,Instructional. 36 pages. ArtsAhimsa #3479227. Publ...
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Piano,Violin - Level 5 - SKU: A0.950822 Composed by Moshe S. Knoll. 20th Century,Concert,Contemporary,Instructional. 36 pages. ArtsAhimsa #3479227. Published by ArtsAhimsa (A0.950822). A post-Modern poem that begins like an innocent Romantic Waltz, and then runs into labyrinths of chromatic adventure.The happy ending comes at a great price, and there is a feeling of loss.The piano part does not have the pedals indicated, every major chord change gets a pedal change. This piece needs a lot of pedal, think of Debussy. Big splashes of tonal color. I think that the piano accompaniment will be very rewarding for ambitious pianists.
$15.00
Sicilienne and Rigaudon for Solo Violin & Pianoforte
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Violon et Piano
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AVANCÉ
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Friedrich Fritz Kreisler
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Keith Terrett
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Pianoforte
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Sicilienne and Rigaudon for So
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Keith Terrett
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SheetMusicPlus
Piano,Violin - Level 5 - SKU: A0.1446730 By Friedrich Fritz Kreisler (February 2, 1875 – January 29, 1962). By Fritz Kreisler. Arranged by Keith Terre...
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Piano,Violin - Level 5 - SKU: A0.1446730 By Friedrich Fritz Kreisler (February 2, 1875 – January 29, 1962). By Fritz Kreisler. Arranged by Keith Terrett. Classical,Contest,Festival,Historic,Multicultural,Romantic Period,World. 15 pages. Keith Terrett #1026496. Published by Keith Terrett (A0.1446730). Sicilienne and Rigaudon for Solo Violin & Pianoforte.The Sicilienne and Rigaudon is one of the many pieces that violin virtuoso Fritz Kreisler composed in the style of other composers. When he first presented and published these pieces, he offered them as recently discovered works by those other composers, newly adapted and arranged by himself. In the case of Sicilienne and Rigaudon, it is eighteenth-century French violinist/composer François Francoeur whose name is on the title sheet, though the piece really has nothing to do with Francoeur's style.The piece is a simple and a charming one, however. The Sicilienne is a binary-form miniature that sweeps along on a characteristic dotted rhythm, with a rather melancholy melody. Think old French ballet. The constant 16th notes of the Rigaudon, give it a character quite unlike that of a traditional rigaudon-a cheerful Baroque dance movement in duple meter.
$8.99
South Bay Angle for violin and piano
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Violon et Piano
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AVANCÉ
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Contemporain
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Robert M
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South Bay Angle for violin and
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Robert M. Greenberg
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SheetMusicPlus
Instrumental Solo,Piano,Violin - Level 5 - SKU: A0.987851 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 29 page...
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Instrumental Solo,Piano,Violin - Level 5 - SKU: A0.987851 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 29 pages. Robert M. Greenberg #100609. Published by Robert M. Greenberg (A0.987851). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 6 1/2 minutes Year of composition: 2011 Program Note: Titles, like mold-scum atop month-old cottage cheese, can take on a life of their own. South Bay Angle was originally composed in 1991 during an Astor Piazzolla-inspired fit of tango-madness. While a more appropriate title for the piece would have been something on the lines of I Can Write One of Those! or This Gringo’s Token Tango, circumstances conspired in another titular direction. The piece was originally intended for performance on a program produced by Composers, Inc., a new-music collective in which I was (and remain) an artistic director. Composers Inc. was then in its seventh season. In those days when newspapers still mattered, Composers, Inc. sought to receive as many print reviews as possible. To that end, the organization invited Paul Hertelendy - who was then the music critic for the San Jose Mercury News - to cover its concerts. He said he would do so provided that there was some sort of south-bay angle which addressed the specific needs of his south-bay readership. Thinking myself clever, I thus entitled the piece South Bay Angle. Hertelandy would get his angle and Composers, Inc. would get its coverage. It didn’t work out that way. The piece was never performed; Hertelendy never got his angle; and Composers, Inc. never received a review from the San Jose Mercury News. Instead, twenty years later, I returned to South Bay Angle and rewrote it from the ground up. The piece is cast as a large-scale A-B-A form. The violin is a willing participant in the tango during the A sections, but a rather reluctant tangoista in the B section, during which it tries mightily to turn the music into a waltz. It does not succeed, and the piece ends as it began, in a blaze of rhythmic fury.
$28.00
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