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In Spite of My Sin
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Vous avez sélectionné:
In Spite of My Sin
Quatuor à cordes: 2 violons, alto, violoncelle
Partitions à imprimer
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String Quartet No. 2: Child's Play
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Contemporain
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Robert M
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String Quartet No. 2: Child's
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Robert M. Greenberg
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.987857 Composed by Robert M. Greenberg. 20th Century. Score and parts. 121 pages. Robert M. Greenberg ...
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String Quartet String Quartet - Level 5 - SKU: A0.987857 Composed by Robert M. Greenberg. 20th Century. Score and parts. 121 pages. Robert M. Greenberg #115423. Published by Robert M. Greenberg (A0.987857). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 21 minutes Year of composition: 1988 Program Note: !. Games (fast) II. Intermezzo: Dreams of Gold (slow) III. Dances (very fast) Child's Play was completed in August, 1988. In no way does the title refer to the technical demands of the piece, which are considerable. Rather, it refers to the endlessly imaginative, energized, and constantly changing play that might be engaged in by four different, though like-minded children. Indeed, the inspiration for the quartet was my then two-year-old daughter Rachel, whose boundless energy and capacity for play I found (and still find) rather terrifying. Child's Play consists of three movements: Games (fast), Intermezzo: Sogni d'Oro (Dreams of Gold) (slow), and Dances (very fast). In Games, four energetic and well-rested players leap out of the starting blocks together and engage in sport of various kinds: running games, chasing games, teasing games, tag, echo games (Simon Says), races, and so forth, eventually returning to the unison from which they began. Intermezzo: Sogni d'Oro (Dreams of Gold) offers a quiet, episodic, dreamlike respite from the frenetic mood of Games. In Dances, the energized character of the first movement resumes, only faster. Dances is a perpetual motion movement in three parts, with a slower, more fragmented middle section sandwiched between a boisterous and frenzied dance of life. This movement ends much in the same way as the first movement began, bringing the circuit of the piece to a close. Child's Play was commissioned by, and is dedicated, with many thanks and great appreciation, to the Alexander String Quartet.
$36.00
Hear Ye Newes Today: Six Traditional Carols for Christmas
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Brian Joyce
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Hear Ye Newes Today: Six Tradi
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Brian Joyce
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.836707 Composed by Brian Joyce. Christmas,Contemporary. Score and parts. 67 pages. Brian Joyce #322607...
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String Quartet String Quartet - Level 4 - SKU: A0.836707 Composed by Brian Joyce. Christmas,Contemporary. Score and parts. 67 pages. Brian Joyce #3226073. Published by Brian Joyce (A0.836707). What’s Christmas without a few toys? Here is a new suite of older carols for string quartet in which each musician is required to play a wee bit of percussion in addition to his or her real instrument. The potential for entertaining visual theater is nearly as high as the potential for mishap. (If all goes according to plan, nothing should actually go airborne.)This is something of a sequel to my earlier Christmas quartet And Therefore Be Merry, which has never been out of print since it was first published over twenty years ago. But where that work was a continuous medley, this is a set of independent and more fully developed movements, each able to stand on its own. As mentioned above, each member of the quartet is responsible for a small item of percussion. These are all things which could readily be found in a local school band room: a triangle, a tambourine, a suspended cymbal - played with a soft (yarn) stick - and a small frame drum, played with the bare hand. These are all earlier, earthier carols than what one typically finds on the radio or playing over the speakers at the mall. They include Gloucestershire Wassail, Riu Riu Chiu, Angelus ad Virginem, The Sans Day Carol, The Wexford Carol, and Masters in This Hall. Being perhaps less familiar, they bring a welcome respite from the overworked seasonal fare we all hear a bit too much of each year. They speak of simpler times, and of a far less frantic approach to Christmas. These fresh and inventive arrangements will make a useful addition to a quartet’s repertoire, provided the players have the requisite spirit of adventure. Score and Parts total 67 pages. Performance time is about 14 minutes.
$19.95
Study on Beethoven
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Methodes Etudes
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Joerg Widmann
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Study on Beethoven
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Schott Music - Digital
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SheetMusicPlus
String quartet - difficult - SKU: S9.Q778767 String Quartet No. 6. Composed by Joerg Widmann. Downloadable, Score and parts. Duration 27 minutes....
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String quartet - difficult - SKU: S9.Q778767 String Quartet No. 6. Composed by Joerg Widmann. Downloadable, Score and parts. Duration 27 minutes. Schott Music - Digital #Q778767. Published by Schott Music - Digital (S9.Q778767). My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works ranging from the (in my opinion) quasi revolutionary Quartet No. 1 to the Quartet No. 5 entitled Versuch über die Fuge [Attempt at a Fugue]. The Quartet No. 6 – Study on Beethoven – composed fourteen years after No. 5 should be conceived as a new approach and the commencement of a new quartet cycle with an unknown ending. All that can be said is that the subsequent quartets will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Despite a reverence for Beethoven at a very early stage, my own compositions have steered well clear of this unapproachable cosmos with the exception of my concert overture Con brio. The perhaps only link with the five quartets of the first cycle of quartets is the single-movement structure of the thirty-minute Quartet No. 6. The fundamental coordinates have otherwise been reset to zero. This is therefore also a ‘study’ in a literal sense. In the Quartet No. 6, I set out with a state of tonality displaying significant extensions whose centrifugal forces are barely containable. My focus is the detection of the inherent gravitation of tonality, including phenomenons such as tension/relaxation, suspension/resolution and fixation/deviation. From a formal aspect, the work is too experimental and unsentimental for explorations in a nostalgic-romantic sense. On the contrary, tonality or at least its fundamental assumptions are initially set down in the sense of a study or test assembly in order to permit subsequent experimentation, variation and the formulation of exceptions with the desire and firm conviction that it is possible to express something innovative and never previously heard with this seemingly exhausted fundamental material. I have been repeatedly astonished by the unfolding in the progression of this piece which has taken me to unknown locations, especially from a formal aspect. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. The Quartet No. 6 has been created in close artistic and friendly cooperation with Anne-Sophie Mutter and she is the dedicatee of this work. Jörg Widmann, July 2019My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works. The Quartet No. 6 composed fourteen years after No. 5 now opens a new cycle of quartets which will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Perhaps the only link with the five quartets of the first cycle is the single-movement structure of the almost thirty- minute Quartet No. 6. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. Jörg Widmann.
$82.99
Past two o'clock for string quartet performed by Budapest Scoring (mp3)
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Budapest Scoring String Quarte
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Past two o'clock for string qu
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David Warin Solomons
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SheetMusicPlus
Level 4 - SKU: A0.1114063 By Budapest Scoring String Quartet. By David Warin Solomons. Christmas,Classical,Contemporary. Full Performance. Duration 172....
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Level 4 - SKU: A0.1114063 By Budapest Scoring String Quartet. By David Warin Solomons. Christmas,Classical,Contemporary. Full Performance. Duration 172. David Warin Solomons #715964. Published by David Warin Solomons (A0.1114063). Instrumental quartet based on my Comic song parodying the old Christmas carol Past three o'clock. The choir is having a party into the early hours of the morning and annoying the neighbour - the neighbour takes his revenge by pulling the fuses, but the choir continues a cappella. Original words: Past two o'clock, all singin' and all dancing Past two o'clock the party's in full flow ... Pity the neighbour, do him a favour: give him some earplugs for good behaviour! his ears are ringin' : stones he'll start flingin' he doesn't like the songs we are singin' Sing to him gentle or he'll go mental he's started shouting words non-parental (Goodness!) He's pulled the fuse now, we'll have to choose now whether to stop and admit that we lose now Despite that fellah we're feelin' mellah and since we're unplugged we'll sing acappella! Performed by Violin 1: Csongor Veér Violin 2: Anna Fehér Viola: Péter Kondor Cello: Mátyás Ölveti of Budapest Scoring.
$5.50
Almost May Score and Parts
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Heidi Savoie
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Heidi Savoie
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Almost May Score and Parts
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Heidi Savoie
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SheetMusicPlus
String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoi...
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String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Jazz,Pop,Singer/Songwriter. 15 pages. Heidi Savoie #960865. Published by Heidi Savoie (A0.1376321). This score is an arrangement for piano, violin I and II, viola, cello, bass with optional drums.Backstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$24.99
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In Spite of My Sin
