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From This Moment On for Cello Solo
Partitions à imprimer
42 partitions trouvées
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From This Moment On
Violoncelle (partie séparée)
Cello Solo - Level 1 - Digital Download SKU: A0.1167257 By Shania Twain. By Robert …
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Cello Solo - Level 1 - Digital Download SKU: A0.1167257 By Shania Twain. By Robert John Mutt Lange and Shania Twain. Arranged by Fabio Eduardo de Oliveira. Pop,Wedding. Individual part. 2 pages. Fabio Eduardo #767634. Published by Fabio Eduardo (A0.1167257). FREE DOWNLOAD PLAYBACKÂ https://www.fabioeduardomusiconline.com/freedownloadFrom This Moment On is a song by Canadian singer Shania Twain. It was released as the fourth single from her third studio album, Come On Over (1997). The song was written by Twain, with additional production and songwriting by Robert John Mutt Lange. Twain has performed From This Moment On on every one of her tours. Both a duet with Bryan White as well as a solo version were released.
$4.99
4.61 €
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Violoncelle (partie séparée)
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Shania Twain
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Fabio Eduardo de Oliveira
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From This Moment On
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Fabio Eduardo
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SheetMusicPlus
From This Moment On
Violoncelle (partie séparée)
Cello Solo - Level 4 - Digital Download SKU: A0.686473 By Shania Twain. By Robert J…
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Cello Solo - Level 4 - Digital Download SKU: A0.686473 By Shania Twain. By Robert John Mutt Lange and Shania Twain. Arranged by Fernando Britto. Country,Pop,Wedding. Individual part. 2 pages. Minhas Partituras #6454041. Published by Minhas Partituras (A0.686473). Arrangement of the song From This Moment On (Shania Twain) for Cello Solo.
$4.99
4.61 €
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Violoncelle (partie séparée)
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Shania Twain
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Fernando Britto
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From This Moment On
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Minhas Partituras
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SheetMusicPlus
From This Moment On
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.864931 By Shania…
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.864931 By Shania Twain. By Robert John Mutt Lange and Shania Twain. Arranged by ShilakowskyArts Music. Country. Score and parts. 10 pages. ShilakowskyArts Music #6039375. Published by ShilakowskyArts Music (A0.864931). This is an easy arrangement with the exceptions as follows; a few notes that are in higher positions...mostly 3rd position, except for the ending which has notes as high as 8th position in the first violin part, but which can be performed an octave down with no loss of harmonic integrity. I recommend reviewing the syncopated rhythms in the violin part. It is important for the instruments that have the notes on the beat to remain steadfast and not to get confused by the offbeats in the solo part.
$12.99
12.01 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Shania Twain
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ShilakowskyArts Music
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From This Moment On
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ShilakowskyArts Music
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SheetMusicPlus
From This Moment On (Shania Twain) for String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
By Shania Twain. Arranged by Fernando Britto. Score, Set of Parts, Solo Part. 12 pages…
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By Shania Twain. Arranged by Fernando Britto. Score, Set of Parts, Solo Part. 12 pages. Published by Minhas Partituras
$12.99
12.01 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Shania Twain
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Fernando Britto
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From This Moment On
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Minhas Partituras
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SheetMusicPlus
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooma…
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Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667). Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and isdedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. Thepiece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.The work contains only two specific “programmatically inspired†images related toPittsburgh. They form the outer two sections of the work. The inner four sections areinspired more abstractly by various aspects of the city, its landscapes, and its people; theyfeature a series of solos and duets for many members of the orchestra – in the manner of a“concerto for orchestra.â€The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.Colors and sounds of the clangorous industrial age of America’s past are evoked. The basicmusical material (a six-note cell) for the entire work is presented in this aggressiveintroduction. Throughout the rest of the work, this basic material is developed in ways thatrange from lushly romantic to aggressively athletic.The following section is marked “slow, lush†and features a duet first between trumpet andtuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leadsto an extended viola solo.The next section is fast and energetic. It begins with an athletic duet for English horn andbass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is forviolin, as the orchestral texture disintegrates around it.The next section, marked “slow, mysticalâ€, begins with a duet between piano and bassclarinet. A passionate horn duo follows before a passage for solo bass leads directly into thenext section.This section is fragmentary and halting. An unpitched duo of bass drum and flexatonebegins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,an extended cello solo closes the section.The final part of the work is inspired by my first visit to Pittsburgh. When driving in fromPittsburgh airport (which is far outside the city), the city itself is “hidden†from the road byhills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,emerges from it on a suspension bridge over the Monongahela River. Late at night, this wasa truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glitteringlights. The ecstatic rush of the lighted city at night is portrayed in this section – amidstfragments from the opening, recalling the industrial past, now transformed into somethingnew.Instrumentation3 Flutes (3rd dbl. Picc.)2 OboesEnglish Horn3 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F/Bb3 Trumpets in Bb2 TrombonesBass TromboneTubaTimpaniPercussion (3 players)I: tubular bells, bass drumII: vibraphone (motor off)III: crotales, marimba, flexatone(Percussion II needs two rosined bows.Percussion III needs one rosined bow.)PianoViolin IViolin IIViolaCelloContrabass(principal/solo contrabass must have machine extension to low Db)This is the score only. The parts are available on rental from the publisher
$25.95
23.99 €
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Orchestre
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Carson Cooman
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Carson Cooman: Pittsburgh Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Shallow - Violin & Cello Duet - Lady Gaga & Bradley Cooper arr. Cellobat
Violon, Violoncelle (duo)
Violin, Cello, String Duet - Advanced Intermediate - Digital Download By Lady Gaga. A…
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Violin, Cello, String Duet - Advanced Intermediate - Digital Download By Lady Gaga. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 8 pages. Published by Sarah Chaffee
Written by Lady Gaga for the hit 2018 movie A Star Is Born, "Shallow" is a rock ballad that alternates its verses between the two main characters of the film and culminates in a powerful duet. It was not only featured as a pivotal moment in the film, but also released with a music video as a single, and after its release it quickly topped the charts in a dozen countries. "Shallow" now boasts the title of 'most awarded song of all time' after receiving numerous Oscars, Golden Globes, and Grammys. In short, this hit song is one that everyone needs to have in their gig binders! This arrangement for violin & cello duet recreates the famous guitar line, the beautiful lyrical melody lines, and maintains the powerful dynamic builds of the original for a chart that's just as much fun to play as it is to listen to! Perfect for parties, corporate events, solo & ensemble contests, or just playing for fun, this chart is sure to get everyone singing along. Easily sightreadable for professionals and playable for advanced-intermediate students -- there are some tricky rhythms throughout, and the violin part goes up to 3rd position.<br> <br> <br> Sarah "Cellobat" Chaffee earned her bachelor's degree in cello performance from the Cleveland Institute of Music and is now based in Las Vegas. She currently performs with Aerosmith in their "Deuces Are Wild" residency at The Park MGM Theater on the Las Vegas Strip. Sarah is also the principal cellist in David Perrico's Pop Strings Orchestra, a 14-piece band that performs every Friday and Saturday at Caesars Palace, and she plays regularly for Premiere Wedding Music and Bella Electric Strings. Sarah has performed and recorded with many other artists including Halsey, Disturbed, Mötley Crüe, Celine Dion, Kygo, Ricky Martin, Sarah Brightman, Il Divo, and Lady Antebellum. She can be found at:<br> http://www.cellobat.com <br> http://www.instagram.com/cellobat <br> http://www.youtube.com/c/SarahCellobatChaffee
$9.99
9.24 €
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Violon, Violoncelle (duo)
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Lady Gaga
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Sarah Cellobat Chaffee
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Shallow - Violin & Cello Duet - Lady Gaga & Bradley Cooper arr. Cellobat
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Sarah Chaffee
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SheetMusicPlus
From This Moment On for Cello Solo
Violoncelle, Piano
By Shania Twain. Arranged by Tracey Craig McKibben. Score, Set of Parts. 9 pages. Publishe…
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By Shania Twain. Arranged by Tracey Craig McKibben. Score, Set of Parts. 9 pages. Published by Tracey Craig McKibben (H0.129091-23023). - Score,Set of Parts - - Tracey Craig McKibben
$4.99
4.61 €
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Violoncelle, Piano
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Shania Twain
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Tracey Craig McKibben
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From This Moment On for Cello Solo
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Tracey Craig McKibben
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SheetMusicPlus
From This Moment On
Large Ensemble Cello,Flute,Horn,Piano Accompaniment,Trumpet,Viola,Violin - Level 5 - Digit…
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Large Ensemble Cello,Flute,Horn,Piano Accompaniment,Trumpet,Viola,Violin - Level 5 - Digital Download SKU: A0.686474 By Shania Twain. By Robert John Mutt Lange and Shania Twain. Arranged by Fernando Britto. Country,Pop,Wedding. Score and parts. 23 pages. Minhas Partituras #6454583. Published by Minhas Partituras (A0.686474). Arrangement of the song From This Moment On (Shania Twain) for Flute, Horn in F, Trumpet in Bb I, Trumpet in Bb II, Violin Solo, Violin I, Violin II, Viola, Cello and Piano Accompaniment.
$20.99
19.4 €
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Shania Twain
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Fernando Britto
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From This Moment On
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Minhas Partituras
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SheetMusicPlus
A Gift From The Bower (Revised)
Violoncelle (partie séparée)
Cello Solo - Level 4 - Digital Download SKU: A0.1288214 Composed by Chris Becker. 2…
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Cello Solo - Level 4 - Digital Download SKU: A0.1288214 Composed by Chris Becker. 21st Century,Classical,Contemporary,New Age. Individual part. 6 pages. Beckeresque (ASCAP) #879245. Published by Beckeresque (ASCAP) (A0.1288214). When I first saw the enormous chair Rachel Gardner and Carlos Canul constructed for A Gift from the Bower, an outdoor, multi-disciplinary group exhibition conceived by renowned artists James Surls and Charmaine Locke, I had a vision of a cellist seated in a chair on the chair, performing solo in a bower deep in the woods of Splendora Gardens. I shared this image with Rachel, who didn’t think I was nuts, and over the course of several weeks, composed a piece for unaccompanied cello to be performed at the opening of the exhibit. I was honored when cellist Patrick Moore agreed to premiere the work; his formidable technique and the deep expression he brings to his playing inspired me to embrace the challenge of composing a solo for his instrument.Knowing my piece would be performed outdoors, I was inspired to evoke the rhythm of sound events one hears in woods, especially the rise and fall of wind as it moves through branches and leaves. The very opening of the piece and later, what I hear as an extended coda, were created as moments for the cellist as much as for the listener and are performed in a sort of meditative state, calling to mind the age-old question, “If a tree falls in a forest and no one is around to hear it, does it make a sound?†The repeating measures of 16th notes in the piece’s demanding middle section pay tribute to two of my heroes, Terry Riley and Philip Glass. While composing the work, Bach’s Six Suites for Violoncello Solo was another important point of reference, as was double bassist Eberhard Weber's 1973 album, The Colours of Chloë.Once finished, it made sense to name the piece A Gift from the Bower since the opportunity to compose the work was a gift, and in exchange, so is the music I have composed.A Gift from the Bower premiered on April 22, 2023, by Patrick Moore at the Locke Surls Center for Art and Nature.A revised version of this piece was completed on September 5, 2023.
$6.99
6.46 €
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Violoncelle (partie séparée)
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Chris Becker
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A Gift From The Bower
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Beckeresque
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SheetMusicPlus
Mysterious Moment for alto flute and string trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by…
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String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.4 €
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Trio à Cordes: violon, alto, violoncelle
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David Warin Solomons
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Mysterious Moment for alto flute and string trio
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David Warin Solomons
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.18 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Violoncello
Violoncelle (partie séparée)
Cello Solo - Level 4 - Digital Download SKU: A0.1018958 Composed by Benjamin Harry …
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Cello Solo - Level 4 - Digital Download SKU: A0.1018958 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6078715. Published by Benjamin Sajo (A0.1018958). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.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
3.24 €
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Violoncelle (partie séparée)
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Mysterious Moment for oboe and string trio
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 …
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.4 €
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David Warin Solomons
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Mysterious Moment for oboe and string trio
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David Warin Solomons
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SheetMusicPlus
Georgia On My Mind
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1269943 By Ray Charles. By Hoagy Carmichael and Stuart Gorrell. Arranged by Julia Dos Reis. 20th Century,Jazz,Pop,Soul,Wedding. 13 pages. Julia Dos Reis #862415. Published by Julia Dos Reis (A0.1269943). Lyricist Gorrell descibes the tune sung by Ray Charles as 'hauntingly sweet'! This string quartet arrangement takes memorable features from the original orchestration, and features optional solos for both cello and viola (alternatively, sections can be skipped or the melody inserted). Enjoy!Julia Dos Reis is a freelance violist, composer/arranger, and teacher based in London, UK. She has performed with her own groups, as well as one off projects, in venues across the UK and Europe, including Ronnie Scott’s, Royal Festival Hall, and Paris’ Grande Halle de La Villette. Julia has a Masters in Jazz Performance from Guildhall School of Music & Drama, where she studied under jazz violinist, Chris Garrick.Her arrangements offer fun takes on pop/jazz classics, keeping the essence of the original. Features of the arrangements include the inclusion of extended and percussive techniques such as ‘chopping’, moments of improvisation, melodic lines passed around all players, and solid grooves. Such features are flexible and can be adapted to suit players’ skills.The arrangements are all truly tried and tested, as she performs the arrangements regularly at weddings and events with her quartet, Soli Strings. Please listen here: https://www.youtube.com/@solistringsmusichttps://www.juliadosreis.com/
$12.99
12.01 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Ray Charles
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Julia Dos Reis
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Georgia On My Mind
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Julia Dos Reis
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SheetMusicPlus
Hold On To The Moment - RHYTHM PACK (Piano/Vocal, Bass, Guitar 1&2, Drum Set, Synth)
Bass Guitar,Drum Set,Synthesizer - Level 3 - Digital Download SKU: A0.789893 Compos…
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Bass Guitar,Drum Set,Synthesizer - Level 3 - Digital Download SKU: A0.789893 Composed by W. Brent Sawyer. Pop,Sacred,Wedding. 29 pages. Diamond S Music #3079757. Published by Diamond S Music (A0.789893). RHYTHM PACK ONLY - Piano/Vocal, Elec. Guitar, Acoustic Guitar, Elec. Bass, Drum Set, Synth Parts. HOLD ON TO THE MOMENT is a beautiful sentimental pop song that can be showcased at graduation ceremonies, Church services, Weddings, and Choir or Band Concerts.You will need at least the Piano/Vocal score to full play this piece. The song begins with a VOCAL SOLO that turns into a TRIO  with a full SATB chorus and Gospel Trio in counterpoint. Full Accompaniment is scored for: Piano, Synthm  Electric Guitar, Acoustic Guitar,  Bass Guitar, Drum Set, Piccolo, Flute 1 & 2, Bb Clarinet 1 & 2, Alto Sax, Tenor Sax, Horn in F, Trumpet 1 & 2, Trombone 1 & 2, Violin 1 & 2, Viola, Cello, Double Bass, Percussion. Can also be performed as a Vocal Solo with Piano (or small group- Piano, Bass, Drums, Guitar). This song begins and ends very sweet, but really grooves and opens up in the middle.  Lyrics are adapted from an anonymous poem, Hold On To The Moment that was used in many school yearbooks years ago, Single file and yet together, we have shared out greatest days. And we carry common memories...).
$15.99
14.78 €
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W
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2, Bb Clarinet 1 &
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Hold On To The Moment - RHYTHM PACK
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Diamond S Music
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SheetMusicPlus
Hold On To The Moment - PIANO/VOCAL SCORE
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.789892 Composed by W. Brent Sawyer. Po…
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Piano,Vocal,Voice - Digital Download SKU: A0.789892 Composed by W. Brent Sawyer. Pop,Sacred,Wedding. Score. 12 pages. Diamond S Music #3079755. Published by Diamond S Music (A0.789892). PIANO/VOCAL SCORE Only. HOLD ON TO THE MOMENT is a beautiful sentimental pop song that can be showcased at graduation ceremonies, Church services, Weddings, and Choir or Band Concerts. The song begins with a VOCAL SOLO that turns into a TRIO  with a full SATB chorus and Gospel Trio in counterpoint. Accompaniment is scored for: Piano, Synth, Electric Guitar  1 & 2, Bass Guitar, Drum Set, Percussion, Piccolo, Flute 1 & 2, Bb Clarinet 1 & 2, Alto Sax, Tenor Sax, Horn in F, Trumpet 1 & 2, Trombone 1 & 2, Violin 1 & 2, Viola, Cello, Double Bass. Can also be performed as a Vocal Solo with Piano (or small group- Piano, Bass, Drums, Guitar). This song begins and ends very sweet, but really grooves and opens up in the middle.  Lyrics are adapted from an anonymous poem, Hold On To The Moment that was used in many school yearbooks years ago, Single file and yet together, we have shared out greatest days. And we carry common memories...).
$7.00
6.47 €
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Piano, Voix
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W
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Hold On To The Moment - PIANO/VOCAL SCORE
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Diamond S Music
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SheetMusicPlus
Hold On To The Moment - FULL SCORE & PARTS
Level 3 - Digital Download SKU: A0.789890 Composed by W. Brent Sawyer. Pop,Sacred,W…
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Level 3 - Digital Download SKU: A0.789890 Composed by W. Brent Sawyer. Pop,Sacred,Wedding. 105 pages. Diamond S Music #3079749. Published by Diamond S Music (A0.789890). HOLD ON TO THE MOMENT is a beautiful sentimental pop song that can be showcased at graduation ceremonies, Church services, Weddings, and Choir or Band Concerts. The song begins with a VOCAL SOLO that turns into a TRIO Â with a full SATB chorus and Gospel Trio in counterpoint. Accompaniment is scored for: Piano, Synth, Electric Guitar, Acoustic Guitar, Bass Guitar, Drum Set, Percussion, Piccolo, Flute 1 & 2, Bb Clarinet 1 & 2, Alto Sax, Tenor Sax, Horn in F, Trumpet 1 & 2, Trombone 1 & 2, Violin 1 & 2, Viola, Cello, Double Bass. Can also be performed as a Vocal Solo with Piano (or small group- Piano, Bass, Drums, Guitar). This song begins and ends very sweet, but really grooves and opens up in the middle. Â Lyrics are adapted from an anonymous poem, Hold On To The Moment that was used in many school yearbooks years ago, Single file and yet together, we have shared out greatest days. And we carry common memories...).
$24.99
23.1 €
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W
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2, Bb Clarinet 1 &
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Hold On To The Moment - FULL SCORE & PARTS
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Diamond S Music
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SheetMusicPlus
Hold On To The Moment - FULL SCORE - Score Only
Level 3 - Digital Download SKU: A0.789891 Composed by W. Brent Sawyer. Pop,Sacred,W…
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Level 3 - Digital Download SKU: A0.789891 Composed by W. Brent Sawyer. Pop,Sacred,Wedding. 21 pages. Diamond S Music #3079751. Published by Diamond S Music (A0.789891). Full Conductor Score. HOLD ON TO THE MOMENT is a beautiful sentimental pop song that can be showcased at graduation ceremonies, Church services, Weddings, and Choir or Band Concerts. The song begins with a VOCAL SOLO that turns into a TRIO Â with a full SATB chorus and Gospel Trio in counterpoint. Accompaniment is scored for: Piano, Synth, Electric Guitar, Acoustic Guitar, Bass Guitar, Drum Set, Percussion, Piccolo, Flute 1 & 2, Bb Clarinet 1 & 2, Alto Sax, Tenor Sax, Horn in F, Trumpet 1 & 2, Trombone 1 & 2, Violin 1 & 2, Viola, Cello, Double Bass. Can also be performed as a Vocal Solo with Piano (or small group- Piano, Bass, Drums, Guitar). This song begins and ends very sweet, but really grooves and opens up in the middle. Â Lyrics are adapted from an anonymous poem, Hold On To The Moment that was used in many school yearbooks years ago, Single file and yet together, we have shared out greatest days. And we carry common memories...).
$10.00
9.24 €
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W
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2, Bb Clarinet 1 &
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Hold On To The Moment - FULL SCORE - Score Only
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Diamond S Music
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SheetMusicPlus
Your Help Comes from the Lord - Accompaniment Download
Digital Download SKU: LX.99-4035L Composed by Mark Hayes. Sacred Anthem. Accompanim…
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Digital Download SKU: LX.99-4035L Composed by Mark Hayes. Sacred Anthem. Accompaniment MP3. Lorenz Publishing - Digital Sheet Music #e99/4035L. Published by Lorenz Publishing - Digital Sheet Music (LX.99-4035L). Downloadable accompaniment track for 10/5329L Based on the beloved Psalm 121, this lovely anthem from Mark Hayes and Herb Frombach is full of lush choral writing that’s supported by a rock-solid accompaniment. An alto solo opportunity heightens the appeal, and the optional oboe and cello parts will ensure memorable and meaningful moments of worship.
$14.95
13.82 €
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Mark Hayes
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Your Help Comes from the Lord - Accompaniment Download
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Home Sweet Home
Violoncelle
Cello Solo - Level 4 - Digital Download SKU: A0.1457605 By Motley Crue. By Nikki Si…
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Cello Solo - Level 4 - Digital Download SKU: A0.1457605 By Motley Crue. By Nikki Sixx and Tommy Lee. Arranged by Sarah Cellobat Chaffee. Pop,Rock,Wedding. Individual part. 2 pages. Sarah Cellobat Chaffee #1036634. Published by Sarah Cellobat Chaffee (A0.1457605). Although hair metal band Mötley Crüe is best known for their rock anthems about girls and motorcycles, a standout moment of their discography is the (slightly) more sentimental power ballad Home Sweet Home. Released in 1985, the song opens with a catchy piano line and lyrics describing the singer's desire to come home and make things right with his significant other. Even though the epic guitar solo later in the song preserves the band's signature hard rock feel, this is still a popular request to this day for weddings and events, and you'll definitely have fun playing this Cellobat version for solo cello! Originally written for a wedding ceremony, this chart maintains the lyrical verses, hard-hitting choruses, and even the guitar solo of the original (although it is somewhat truncated, since the original solo is almost a full minute long!). Rated advanced-intermediate for some tenor clef and higher notes (not quite up to thumb position, but as high as 6th); this will be playable for more advanced students and sightreadable for professionals.Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. You may have seen her onstage with legendary rock band Aerosmith as the cellist for their “Deuces Are Wild” residency, playing more than 50 sold-out shows with the Bad Boys from Boston; she is also the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays and tours with many other world-renowned groups including the Femmes of Rock, Premiere Wedding Music, Bella Electric Strings, and David Perrico’s Pop Strings Orchestra. Sarah has made a number of TV appearances including the Billboard Music Awards, the Latin Grammy Awards, the iHeartRadio Music Festival, and the CBS reality show “Love Island”; she also played with Michael Bublé for his sold-out Resorts World residency and appeared with him on the Kelly Clarkson Show. Sarah has performed and recorded with a number of other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Dionne Warwick, Sarah Brightman, and Sammy Hagar.Sarah is also an acclaimed string arranger with hundreds of arrangements published on Sheet Music Plus under her own label, Cellobat Charts. She is the exclusive arranger for several award-winning wedding and event companies across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles worldwide. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$7.99
7.39 €
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Violoncelle
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Motley Crue
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Sarah Cellobat Chaffee
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Home Sweet Home
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Sarah Cellobat Chaffee
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SheetMusicPlus
Moon River
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.6…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.684995 By Henry Mancini. By Henry Mancini and Johnny Mercer. Arranged by Julia Dos Reis. Film/TV,Jazz,Pop,Standards,Wedding. 21 pages. Julia Dos Reis #293715. Published by Julia Dos Reis (A0.684995). Melt your heart away with the much loved and covered jazz standard arranged for string quartet. A perfect romantic must for weddings and events. A level of jazz knowledge is necessary for the solo section, where it is recommended to include soloist, chords, chops (rhythmic accompaniment), and a bass line in the cello. Please listen and transcribe to versions of this tune for an idea of what to play. Alternatively you may skip to letter F. Enjoy!Julia Dos Reis is a freelance violist, composer/arranger, and teacher based in London, UK. She has performed with her own groups, as well as one off projects, in venues across the UK and Europe, including Ronnie Scott’s, Royal Festival Hall, Paris’ Grande Halle de La Villette. Julia has a Masters in Jazz Performance from Guildhall School of Music & Drama, where she studied under jazz violinist, Chris Garrick.Her arrangements offer fun takes on pop/jazz classics, keeping the essence of the original. Features of the arrangements include the inclusion of extended and percussive techniques such as ‘chopping’, moments of improvisation, melodic lines passed around all players, and solid grooves. Such features are flexible and can be adapted to suit players’ skills.The arrangements are all truly tried and tested, as she performs the arrangements regularly at weddings and events with her quartet, Soli Strings. Please listen here: https://www.youtube.com/@solistringsmusichttps://www.juliadosreis.com/
$12.99
12.01 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Henry Mancini
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Julia Dos Reis
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Moon River
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Julia Dos Reis
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SheetMusicPlus
String Quartet No.2
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987079 Composed …
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987079 Composed by Frederick Paul Naftel. Contemporary. Score and parts. 41 pages. Frederick Naftel #6255501. Published by Frederick Naftel (A0.987079). My 2nd String Quartet was composed during the current Coronavirus pandemic and its style is definitely affected by this period. I would describe the music as a strong statement of mind. In complete contrast to my relatively straightforward 1st Quartet, which is in 4 movements, the present work is in one uninterrupted movement, divided into five parts, with an epilogue. The intervals of the major 7th and minor 2nd are a strong feature of the music, which contrasts intensely static passages, which are nevertheless uneasily tranquil, with furious and violent sections, often marked triple forte in certain passages. The opening Lento flows serenely but mysteriously as if awaiting some kind of resolution, using motifs rather than fully-fledged themes(of which there are very few). The viola makes an urgent and violent protest, later to be imitated by cello, as if to disrupt the serenity, until the second section bursts in with barely-controlled energy and fury. This Allegro feroce is strongly accented and relentless in its forward momentum, the tension manintained almost throughout until the music suddenly quietens down, pizzicato passages leading to the next section. The Adagio Sostenuto initially resembles plainsong, all four instruments in unison(muted) playing a smooth line which rises and falls, the dynamics remaining pp and senza vibrato. The line breaks into harmony based on the interval of a perfect 5th, eventually leading to a passage reminiscent of the very opening of the work. A brief crescendo leads to another quiet unison passage which becomes more fragmented and unsettled, first and second violins announcing an aggressive idea which becomes the initial impetus for the fourth section. This Presto Furioso is even more violently energetic than the second section and at one point, alternates between 3/8 and 4/8, making the music sound even more unsettled. This is music with a strong sense of purpose as well as absolute fury. After a very short scalic passage, the final section begins Grave and pp with a sustained unison C, growing in power with exaggerated vibrato to a series of crunching discords and a wildly disconcerting episode featuring swirling upper strings and impassioned cello solo. The music dies away to the Epilogue. The concluding part of the work calls for a recorded cello playing a pizzicato pedal, over which violins and viola play a series of overlapping (tonal) triads, giving the music a slightly warmer but still mysterious sound. The recorded cello’s pedal notes slow down until a final powerful discord from the 4 instruments dies away, leaving the sighing motif of the very opening of the work to have the last word. This note may be reprinted in programmes with the following details: (c) 2020 Frederick Naftel
$19.99
18.48 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Frederick Paul Naftel
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String Quartet No.2
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Frederick Naftel
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SheetMusicPlus
Oh! Susanna
Violoncelle (partie séparée)
Cello Solo - Level 1 - Digital Download SKU: A0.1258924 Composed by Stephen Foster.…
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Cello Solo - Level 1 - Digital Download SKU: A0.1258924 Composed by Stephen Foster. Arranged by Glauco Fernandes. Children,Classical,Instructional,Traditional. Individual part. 1 pages. Glauco Fernandes #852186. Published by Glauco Fernandes (A0.1258924). Exclusive Sheet Music! Solo Cello Arrangement of Oh Susanna Calling all cellists! We are thrilled to present to you the sheet music for a solo cello arrangement of the beloved melody Oh Susanna! This arrangement is specifically tailored for the cello, allowing you to showcase the expressive qualities and unique characteristics of the instrument.The arrangement has been meticulously crafted to highlight the rich and resonant tones of the cello. The captivating melody of Oh Susanna has been adapted for solo cello, allowing you to explore the full range and emotional depth of the instrument. With each note and phrase, you can bring out the soulful and lyrical qualities that make the cello so enchanting.Imagine the evocative sound of your cello resonating through the air as you perform Oh Susanna. From delicate passages to powerful moments, you'll captivate your audience and transport them to a world of musical enchantment.The sheet music is suitable for cellists of different skill levels, offering a rewarding experience for both beginners and advanced musicians. The arrangement has been thoughtfully notated to ensure an enjoyable and accessible performance, while still leaving room for personal expression and interpretation. Whether you're a seasoned performer or just starting out, this arrangement will allow you to showcase your musicality and passion for the cello.Don't miss out on the opportunity to add this beautiful solo cello arrangement of Oh Susanna to your repertoire. Let your cello sing and delight your audience with the timeless charm of this melody. Order your sheet music today and embark on a musical journey filled with expressive melodies and heartfelt emotions!Elevate your cello playing, captivate your audience, and savor the joy of performing this beloved melody. The music is waiting for you. Get your sheet music today and immerse yourself in the enchanting world of Oh Susanna!
$1.99
1.84 €
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Violoncelle (partie séparée)
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Stephen Foster
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Glauco Fernandes
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Oh! Susanna
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Glauco Fernandes
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SheetMusicPlus
Vier Seiten
Violoncelle
Cello - Digital Download SKU: S9.Q40682 For solo cello. Composed by Thomas L…
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Cello - Digital Download SKU: S9.Q40682 For solo cello. Composed by Thomas Larcher. This edition: Sheet music. Cello Library. Downloadable. Duration 7 minutes. Schott Music - Digital #Q40682. Published by Schott Music - Digital (S9.Q40682). Vier Seiten for violoncello is an attempt to present an event that in reality takes about two seconds in extreme slow motion, thus making even the micromovements visible or audible beyond the straight line of motion. When I composed the piece, the fatal accident of Ayrton Senna came to my mind again and again – an accident which was shown on TV in slow motion again and again until it became unbearable. The fast motion of the car immediately before the crash into a concrete wall, a motion which was no longer purposeful but out of control and which had the car pulled to and fro and from side to side, was followed by that crash. In this extreme slow motion, it is no longer shown as a crash but as the fast telescoping of carbon fibre, metal and human body parts. After this crash, as a postlude so to speak, everything suddenly slowed down, tyres and automotive particles floating in the air, the torso of the vehicle swinging until the motion stopped. It was not until this moment that I realized that the whole presentation of the incident had been accompanied by paralyzing silence. - Thomas LarcherVier Seiten is a response to Ayrton Senna’s fatal car accident, portrayed in slow motion, as it was repeatedly shown on television at the time. In this poignant work, a violent fast section represents the crash, followed by a long epilogue, reflecting the apparent stillness of the immediate aftermath.
$7.99
7.39 €
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Violoncelle
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Thomas Larcher
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Vier Seiten
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Schott Music - Digital
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SheetMusicPlus
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