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Once I Was There
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5
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1
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16
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6
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4
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3
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3
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2
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1
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59
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12
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12
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11
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9
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8
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7
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7
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7
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6
Clarinette
6
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6
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6
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5
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5
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4
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4
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4
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3
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3
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3
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3
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3
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2
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2
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1
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1
Saxophone Soprano
1
Flûte et Guitare
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1
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1
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1
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1
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1
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1
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1
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77
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32
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27
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22
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16
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15
Trompette
8
2 Trombones (duo)
7
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5
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5
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4
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4
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4
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4
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3
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3
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2
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2
2 Tubas (duo)
2
Trompette, Piano
2
Tuba
2
Quatuor de cuivres: 4 trombones
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Trombone
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21
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18
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14
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14
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13
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10
2 Violoncelles (duo)
10
Violon
10
Violoncelle, Piano
8
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7
2 Altos (duo)
6
Alto, Piano
6
Violon, Alto (duo)
5
2 Violons (duo)
5
Violoncelle
5
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4
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4
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Alto, Violoncelle (duo)
2
4 Violoncelles
2
Alto et Basson
1
Contre Basse
1
Harpe, Voix
1
Quatuor à cordes : 4 altos
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1
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1
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82
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38
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32
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16
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6
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Vous avez sélectionné:
Once I Was There
SheetMusicPlus
Partitions à imprimer
4 partitions trouvées
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When I'm Sixty-four
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Alto seul
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INTERMÉDIAIRE/AVANCÉ
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Rock
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The Beatles
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David McKeown
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When I'm Sixty-four
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David McKeown
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SheetMusicPlus
Viola Solo - Level 4 - SKU: A0.588382 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by David M...
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Viola Solo - Level 4 - SKU: A0.588382 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by David McKeown. Rock. Individual part. 3 pages. David McKeown #5319409. Published by David McKeown (A0.588382). When I’m Sixty-Four first appeared on the Beatles’ 1967 album, Sgt. Pepper’s Lonely Hearts Club Band. Despite the song’s appearance relatively late in the Beatles’ discography, it was one of the first songs that Paul McCartney wrote, at the age of 16. When the song was finally recorded in 1966, Paul McCartney felt it was too slow and turgid. George Martin simply solved the problem by speeding up the tape and raising the pitch by one semitone. This version of When I’m Sixty-Four is arranged in a suitable key and range for solo Viola. Piano/Guitar chords are also included above the stave.Musicians at an intermediate level will find this ideal for formal and informal concert performance. The overall performance time is around two and a half minutes. 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
$4.99
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Viola
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Alto seul
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AVANCÉ
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and S
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Benjamin Sajo
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SheetMusicPlus
Viola Solo - Level 5 - SKU: A0.1018938 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 5 pages. Benjamin Sajo #6072979. Pub...
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Viola Solo - Level 5 - SKU: A0.1018938 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 5 pages. Benjamin Sajo #6072979. Published by Benjamin Sajo (A0.1018938). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
TWO NEW MEDITATIONS for Viola
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Alto seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alan Edgar
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TWO NEW MEDITATIONS for Viola
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Alan Edgar Ted Moon
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SheetMusicPlus
Viola Solo - Level 4 - SKU: A0.1405068 Composed by Alan Edgar. 20th Century. Individual part. 4 pages. Alan Edgar Ted Moon #988104. Published by Alan Ed...
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Viola Solo - Level 4 - SKU: A0.1405068 Composed by Alan Edgar. 20th Century. Individual part. 4 pages. Alan Edgar Ted Moon #988104. Published by Alan Edgar Ted Moon (A0.1405068). Duration: about 3 minutes. If you are to perform the pieces, please let us know: there is no charge. In contrast to my very popular Two Meditations, which were in ancient modes, these use 20thC techniques. Woodland was inspired by a notated motif and mysterious elements found in a tapestry by Libby Morton-Gibson and by the quartal-based Haru No Umi or The Sea in Spring by Michio Miyagi. After I play a game with the scale, every phrase delineates a four-note quartal: classical progressions including a circle of fifths are cunningly concealed within. The rhythms are unpredictable. Use your imagination. The scale game returns in retrograde at the end. Will- o'-the- Wisp is the eerie and elusive flame sometimes formed over marshes. The term is also used to mean an unobtainable wish. I use my octatonic scale.
$22.00
Elegy II
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Alto seul
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INTERMÉDIAIRE/AVANCÉ
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Nick Norton
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Elegy II
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Bathysphere Music
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SheetMusicPlus
Viola Solo - Level 4 - SKU: A0.1160860 Composed by Nick Norton. Chamber,Classical,Contemporary. Individual part. 3 pages. Bathysphere Music #761171. Pub...
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Viola Solo - Level 4 - SKU: A0.1160860 Composed by Nick Norton. Chamber,Classical,Contemporary. Individual part. 3 pages. Bathysphere Music #761171. Published by Bathysphere Music (A0.1160860). I wrote Elegy II almost immediately after the Isla Vista shootings in 2014. Many of my students and friends at UCSB were deeply affected, and some came quite close to being in the line of fire.The piece reuses some melodic material from my first elegy, which I had written for my grandmother’s funeral a few years earlier. Both end on a picardy third. For the first elegy, I considered that a way of embracing a future influenced by the love for and memories of her. For this one, I’m not so sure. At best, it feels like an honest wish for healing. In the face of the daily murder of innocent people, it feels like a hollow gesture. In any case, if the piece brings someone some comfort, I am glad for that.Elegy II was premiered by the violist Jordan Warmath at a concert at UCSB in memory of the victims. A violin version followed shortly thereafter, and then a video and recording performed by my friend Jonathan Morgan.
$10.00
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Once I Was There
