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TRI ET FILTRES
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Tri et filtres :
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Vous avez sélectionné:
That Would Be Enough
Quatuor à cordes: 2 violons, alto, violoncelle
Partitions à imprimer
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Beach Spring
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.815475 Composed …
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String Quartet String Quartet - Level 4 - Digital Download SKU: A0.815475 Composed by B.F.White. Arranged by Thomas Strauch. Contemporary,Praise & Worship,Sacred,Spiritual,Wedding. Score and parts. 8 pages. Purple Pedagogy Publishing #4716581. Published by Purple Pedagogy Publishing (A0.815475). This is a special arrangement for string quartet of a traditional hymn. This is a beautiful hymn that would be great for wedings, reception, prelude, or any special occasion. The parts are high enough to be heard outside. The 1st violin goes very high and would be best played by experienced players.
$9.99
9.22 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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B
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Thomas Strauch
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Beach Spring
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Purple Pedagogy Publishing
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SheetMusicPlus
Almost May Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Dow…
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String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Download 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
23.06 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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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
Chega De Saudade (no More Blues)
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 2 - Digital Download SKU: A0.798083 Composed …
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String Quartet String Quartet - Level 2 - Digital Download SKU: A0.798083 Composed by Antonio Carlos Jobim. Arranged by Inacio Saldanha. Contemporary. Score and parts. 13 pages. Inacio Saldanha #5023901. Published by Inacio Saldanha (A0.798083). Chega de Saudade (Brazilian Portuguese: ['ʃega dÊ’i saw'dadÊ’i]) (published English version is No More Blues) is a bossa nova jazz standard. It is often considered to be the first recorded bossa nova song. The music was composed by Antonio Carlos Jobim and the lyrics were written by VinÃcius de Moraes. João Gilberto's recording is the most famous.The song was first recorded in 1957 by Brazilian singer Elizete Cardoso and released on her 1958 album entitled Canção Do Amor Demais; however, the public took little notice of her release. João Gilberto included the second recorded version of the track in 1958. Released as a single, the song became a hit and would solidify bossa nova as a permanent genre in the Latin music lexicon. The song also appeared on Gilberto's first album Chega De Saudade.The title can be translated roughly as enough longing, though the Portuguese word, saudade, carries with it a far more complex meaning. The word implies an intensity of heartfelt connection that is yearned for passionately, not unlike feeling withdrawal symptoms from a drug that makes one feel good. Another good analogy might be an intense homesickness. Chega, in this case, means no more, enough.The song form is 64 measures. It is equally split between 32 measures in a minor key and the 32 measures in a major key. The key of the original recording by Elizete Cardoso went from D minor (the relative minor of F with one flat) to D major (two sharps).Arranged for String Quartet. Key of D. Early Intermediate.
$12.99
11.99 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Antonio Carlos Jobim
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Inacio Saldanha
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Chega De Saudade
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Inacio Saldanha
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SheetMusicPlus
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