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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
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Bin There
Non classifié
299
Piano & claviers
Piano seul
148
Piano, Voix
27
Piano, Voix et Guitare
25
Orgue
23
Piano grosses notes
19
Piano Trio: piano, violon, violoncelle
13
1 Piano, 4 mains
11
Piano Facile
10
Accompagnement Piano
7
2 Pianos, 4 mains
7
Instruments en Do
4
Piano Quatuor: piano, 2 violons, violoncelle
2
Clavier
2
Piano (partie séparée)
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 10 instrumentations
Retracter
Guitares
Guitare
19
Guitare notes et tablatures
9
4 Guitares (Quatuor)
5
2 Mandolines (duo)
2
Ligne De Mélodie, (Paroles) et Accords
2
Mandoline, Guitare (duo)
1
Paroles et Accords
1
2 Guitares (duo)
1
Mandoline
1
Ukulele
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
70
Chorale 2 parties
28
Chorale 3 parties
21
Chorale TTBB
10
Chorale Unison
9
Voix duo, Piano
8
Chorale SSAA
7
Chorale SSAATTBB
2
Voix Soprano, Piano
2
Voix seule
1
Voix haute
1
Voix basse, Piano
1
Chorale SSATTB
1
+ 8 instrumentations
Retracter
Vents
2 Saxophones (duo)
40
Flûte, Violon, Piano
31
Flûte traversière et Piano
25
Saxophone, Clarinette (duo)
22
Saxophone Alto et Piano
19
2 Clarinettes (duo)
16
Clarinette, Violon (duo)
15
Flûte, Hautbois, Clarinette, Basson
15
Clarinette, Trompette (duo)
15
2 Flûtes traversières (duo)
14
Clarinette et Piano
13
Saxophone Soprano et Piano
13
Saxophone Tenor et Piano
12
Cor anglais, Piano
12
Hautbois, Piano (duo)
10
Quatuor de Saxophones: 4 saxophones
9
Hautbois, Clarinette (duo)
8
Clarinette et Alto
8
Flûte, Trompette (duo)
8
2 Hautbois (duo)
8
Hautbois, Basson (duo)
8
Flûte, Clarinette (duo)
8
Flûte, Violon
8
Hautbois, Flûte
7
Saxophone Baryton, Piano
7
Clarinette
6
Flûte, Alto (duo)
6
Flûte, Saxophone (duo)
6
Ensemble de Clarinettes
6
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
6
Flûte traversière
6
Clarinette Basse, Piano
6
Ensemble de saxophones
5
3 Saxophones (trio)
4
Quintette de Saxophone: 5 saxophones
4
Saxophone Alto
4
Quatuor de Clarinettes: 4 clarinettes
4
Ensemble de Flûtes
3
Hautbois (partie séparée)
3
Saxophone Tenor
3
Saxophone (partie séparée)
2
Quatuor de Flûtes : 4 flûtes
2
Flûte, Hautbois, Clarinette (trio)
2
Flûte à bec Soprano, Piano
2
Flûte irlandaise
2
Trio de Flûtes: 3 flûtes
2
Piccolo, Piano
2
Quintette de Clarinettes: 5 clarinettes
2
Ensemble De Flûte à bec
1
Quintette de Flûte : 5 flûtes
1
Flute, harpe et violon
1
3 Hautbois
1
Flûte et Guitare
1
Quatuor de Flûtes à bec
1
Flûte, Violoncelle
1
3 Clarinettes (trio)
1
+ 51 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
33
Trompette, Saxophone (duo)
16
Trombone et Piano
13
Cor anglais, Piano
12
Trompette, Piano
9
Euphonium, Piano (duo)
9
Trompette, Trombone (duo)
8
Quatuor de Cuivres : 2 trompettes, trombone, tuba
8
Trompette
6
2 Trombones (duo)
6
2 Trompettes (duo)
5
Cor et Piano
4
Trombone
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Cor
3
Tuba
3
Trompette, Cor (duo)
2
Ensemble de Trombones
2
Trompette (partie séparée)
2
Quatuor de cuivres: 4 trombones
1
2 Cors (duo)
1
Quatuor de cuivres: 4 cors
1
3 Trombones (trio)
1
+ 18 instrumentations
Retracter
Cordes
Harpe
43
Quatuor à cordes: 2 violons, alto, violoncelle
34
Violon et Piano
27
Violoncelle, Piano
18
Violon, Violoncelle (duo)
17
2 Violons (duo)
14
Alto, Piano
11
Trio à Cordes: violon, alto, violoncelle
10
2 Altos (duo)
9
2 Violoncelles (duo)
8
Violon, Alto (duo)
7
Violoncelle
4
Violon
4
Trio à Cordes: 2 violons, violoncelle
4
Harpe, Flûte (duo)
3
2 Violons, Piano
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
Piano Trio: Violon, Alto, Piano
2
Alto seul
2
Contrebasse, Piano (duo)
1
Trio à cordes: 3 altos
1
Contrebasse (partie séparée)
1
Harpe, Voix
1
Trio à Cordes: 3 violoncelles
1
Ensemble d'Altos
1
4 Contrebasses
1
Ensemble de Violons
1
+ 22 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
87
Orchestre
18
Orchestre de chambre
17
Orchestre à Cordes
17
Cloches
14
Ensemble de cuivres
12
Ensemble de Percussions
8
Ensemble Jazz
7
Jazz combo
4
Fanfare
2
2 Marimbas
1
Batterie
1
Quintette de Cuivres: autres combinaisons
1
Bodhran
1
Percussion
1
Marimba
1
+ 11 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
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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
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
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Vous avez sélectionné:
Bin There
Alto, Piano
Partitions à imprimer
11 partitions trouvées
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1
Scriabin: Prelude Op. 11 No. 2 for Viola & Piano
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Alto, Piano
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INTERMÉDIAIRE
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.549462 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred...
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Piano,Viola - Level 3 - SKU: A0.549462 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499711. Published by jmsgu3 (A0.549462). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
Were You There (with "What Wondrous Love Is This") (Viola solo and Piano)
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Alto, Piano
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FACILE
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Musique Sacrée
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Traditional, Spiritual
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Stephen DeCesare
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Were You There
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Exultet Music
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SheetMusicPlus
Piano,Viola - Level 2 - SKU: A0.628664 Composed by Traditional, Spiritual. Arranged by Stephen DeCesare. Christian,Easter,Religious,Sacred,Spiritual. Sc...
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Piano,Viola - Level 2 - SKU: A0.628664 Composed by Traditional, Spiritual. Arranged by Stephen DeCesare. Christian,Easter,Religious,Sacred,Spiritual. Score and part. 10 pages. Exultet Music #6205011. Published by Exultet Music (A0.628664). Two of the most powerful Lenten/Holy Week hymns have been combined into one anthem and is scored for a Viola solo with Piano accompaniment. Accessible and appropriate for any church or concert setting. An accompaniment track is also available. .
$4.99
Were You There (with "He Never Said A Mumbalin' Word") (Viola solo and Piano)
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Alto, Piano
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FACILE
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Musique Sacrée
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Spiritual
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Stephen DeCesare
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Were You There
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Exultet Music
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SheetMusicPlus
Piano,Viola - Level 2 - SKU: A0.630249 Composed by Spiritual. Arranged by Stephen DeCesare. Christian,Easter,Religious,Sacred,Spiritual. Score and part....
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Piano,Viola - Level 2 - SKU: A0.630249 Composed by Spiritual. Arranged by Stephen DeCesare. Christian,Easter,Religious,Sacred,Spiritual. Score and part. 12 pages. Exultet Music #6428025. Published by Exultet Music (A0.630249). Two of the most beloved Spirituals used during the Lenten season/Holy Week have been combined into one anthem and scored for a Viola solo with Piano accompaniment. Accessible and appropriate for any church or concert setting. An accompaniment track is also available.
$4.99
Bach: Bist du bei mir BWV 508 for Viola & Piano
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Alto, Piano
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FACILE
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Classique
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Johann Sebastian Bach
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James M
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Bach: Bist du bei mir BWV 508
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 2 - SKU: A0.549217 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score ...
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Piano,Viola - Level 2 - SKU: A0.549217 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468034. Published by jmsgu3 (A0.549217). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined. Â
$32.95
Onward Christian Soldiers, Gospel Hymn for Viola and Piano
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Alto, Piano
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FACILE
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Musique Sacrée
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Gospel Spirituel
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Sabine Baring-Gould
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David McKeown
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Onward Christian Soldiers, Gos
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David McKeown
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SheetMusicPlus
Piano,Viola - Level 2 - SKU: A0.593159 Composed by Sabine Baring-Gould. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. S...
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Piano,Viola - Level 2 - SKU: A0.593159 Composed by Sabine Baring-Gould. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and part. 3 pages. David McKeown #6416505. Published by David McKeown (A0.593159). Onward Christian Soldiers is a beautiful gospel song arranged here for Solo Viola and Piano.Onward Christian Soldiers was written by Sabine Baring-Gould in 1865 and set to music by Arthur Sullivan in 1871. Churchill later chose the hymn to be sung at a wartime service when he met Roosevelt in 1941. In more recent times there have been attempts, some successful, some not, to alter the military flavor of the lyrics.
$2.49
Sullivan: The Lost Chord for Viola & Piano
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Alto, Piano
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INTERMÉDIAIRE
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for V
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.549441 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacre...
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Piano,Viola - Level 3 - SKU: A0.549441 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 14 pages. Jmsgu3 #3494681. Published by jmsgu3 (A0.549441). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
Viola Moods & Images
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Alto, Piano
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DÉBUTANT
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Methodes
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Tabitha Kierszka
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Tabitha Kierszka
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Viola Moods & Images
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Tabitha Kierszka
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SheetMusicPlus
Piano,Viola - Level 1 - SKU: A0.1041179 By Tabitha Kierszka. By Tabitha Kierszka. Arranged by Tabitha Kierszka. Instructional. Score and part. 57 pages....
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Piano,Viola - Level 1 - SKU: A0.1041179 By Tabitha Kierszka. By Tabitha Kierszka. Arranged by Tabitha Kierszka. Instructional. Score and part. 57 pages. Tabitha Kierszka #645910. Published by Tabitha Kierszka (A0.1041179). A collection of 18 pieces with descriptive titles for beginning violists. Online audio for demo and play-along purposes is available! There is a link inside the book. Each piece has two audio tracks: one with viola and piano (demo) and one with accompaniment only. 17 of the pieces are in 1st position, the 18th piece is in 3rd position, but without any shifting. Occasional use of the 4th finger. Three pieces: Quiet Thoughts, Two-Finger Jig and Longing require only the use of fingers 1 and 2! The pieces are arranged - more or less - in increasing order of difficulty. The piano part can easily be played by intermediate pianists. Score: 39 pages, separate viola part: 16 pages Titles: 1. Quiet Thoughts 2. Two-Finger Jig 3. Autumn Song 4. A Sailor's Song 5. Lullaby 6. Seagulls 7. Solemn Melody 8. Getting Ready! 9. Sailing on a Quiet Sea 10. In Classical Style (in 3 movements) 11. Emerald Hills 12. Jourmey by Train 13. Nostalgic Waltz 14. Smoothly 15. Climbing the Old Castle's Tower 16. Longing 17. A Little Tango 18. A Sad Tale.
$5.00
It's Been A Long, Long Time
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Alto, Piano
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INTERMÉDIAIRE
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Contemporain
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Jule Styne
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David McKeown
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It's Been A Long, Long Time
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David McKeown
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.592556 Composed by Jule Styne. Arranged by David McKeown. Contemporary. Score and part. 6 pages. David McKeown #6366371....
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Piano,Viola - Level 3 - SKU: A0.592556 Composed by Jule Styne. Arranged by David McKeown. Contemporary. Score and part. 6 pages. David McKeown #6366371. Published by David McKeown (A0.592556). It’s Been a Long Long Time is arranged as a solo for one Viola with Piano accompaniment. It’s Been a Long Long Time is best known to modern audiences as the song at the end of The Avengers, Endgame, where Steve Rogers, after seventy years, finally gets his dance with Peggy Carter. The song of course, is much older. Two versions of It’s Been a Long Long Time topped the charts in late 1945, and as US servicemen returned from Europe and the Pacific, it perfectly caught the mood of the times. One version was by Bing Crosby, and the other by the Harry James Orchestra featuring Kitty Kallen on vocals. It is the latter version that is heard in Endgame and the one that forms the basis of this arrangement.Musicians at an intermediate standard will find It’s Been a Long Long Time ideal for formal and informal concert performances. with both solo instrument and piano enjoying plenty of melodic interest. The separate solo part is included with the piano score in the same pdf file. The overall performance time is just over two and a half minutes. Click the link above to listen to a full performance of the clarinet version on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$5.99
Korsakov: Flight of the Bumblebee for Viola & Piano
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Alto, Piano
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AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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James M
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Korsakov: Flight of the Bumble
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Peri...
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Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95
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