English version
Parcourir Free-scores.com
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
I Got Rhythm: Viola
Non classifié
7
Piano & claviers
Piano Quatuor: piano, violon, alto, violoncelle
1
Guitares
Voix
Vents
Cuivres
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
8
Alto, Piano
3
Trio à Cordes: violon, alto, violoncelle
2
Alto seul
1
Violon (partie séparée)
1
Alto (partie séparée)
1
+ 1 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
6
Orchestre d'harmonie
1
Orchestre
1
Piano et Orchestre
1
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions Gratuites
125
Partitions Numériques
33
Librairie Musicale
35
Matériel de Musique
0
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
I Got Rhythm: Viola
Partitions à imprimer
33 partitions trouvées
<
1
26
I Got Rhythm: Viola
Orchestre à Cordes
String Orchestra - Digital Download SKU: AX.00-PC-0002569_VA1 Viola. Compose…
(+)
String Orchestra - Digital Download SKU: AX.00-PC-0002569_VA1 Viola. Composed by George Gershwin and Ira Gershwin. Arranged by Michael Story. Classical. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0002569_VA1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002569_VA1). UPC: 654979081463.There are few songs that are known to every generation since their composition and I Got Rhythm is one of those few. Now, this revered Gershwin classic is scored for your beginners to perform as early as during the first few months of instruction. (1:39).
$5.99
5.51 €
#
Orchestre à Cordes
#
George Gershwin and Ira Gershwin
#
Michael Story
#
I Got Rhythm: Viola
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
I Got Rhythm
Alto, Piano
Viola & Piano - Grade 3 - Digital Download SKU: R0.36979 Composed by George Gershwi…
(+)
Viola & Piano - Grade 3 - Digital Download SKU: R0.36979 Composed by George Gershwin. Arranged by Jirka Kadlec. Viola & Piano. Score and parts. 8 pages. Duration 2'52. Editions Marc Reift - Digital #36979. Published by Editions Marc Reift - Digital (R0.36979).
$5.95
5.48 €
#
Alto, Piano
#
George Gershwin
#
Jirka Kadlec
#
I Got Rhythm
#
Editions Marc Reift - Digital
#
SheetMusicPlus
Gershwin by George!: Viola
Alto (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0016909_VA1 Viola. Composed …
(+)
Full Orchestra - Digital Download SKU: AX.00-PC-0016909_VA1 Viola. Composed by George Gershwin. Arranged by Jerry Brubaker. Jazz. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0016909_VA1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016909_VA1). UPC: 038081401284.Gershwin's legendary and well-known compositions span both popular and classical genres. Featured works in this beautiful medley include: Strike Up the Band!, I Got Rhythm, Embraceable You, An American in Paris, Prelude II, Summertime, and Rhapsody in Blue. (5:45).
$3.00
2.76 €
#
Alto (partie séparée)
#
George Gershwin
#
Jerry Brubaker
#
Gershwin by George!: Viola
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Viola & Piano
Alto, Piano
Piano,Viola - Level 2 - Digital Download SKU: A0.549217 Composed by Johann Sebastia…
(+)
Piano,Viola - Level 2 - Digital Download SKU: A0.549217 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468034. Published by jmsgu3 (A0.549217). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined. Â
$32.95
30.32 €
#
Alto, Piano
#
Johann Sebastian Bach
#
James M
#
Bach: Bist du bei mir BWV 508 for Viola & Piano
#
jmsgu3
#
SheetMusicPlus
I Got Rhythm
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.1210904 Composed…
(+)
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.1210904 Composed by George Gershwin. Arranged by Carl Darby. Jazz. 14 pages. Carl Darby #808613. Published by Carl Darby (A0.1210904).
$12.99
11.95 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
George Gershwin
#
Carl Darby
#
I Got Rhythm
#
Carl Darby
#
SheetMusicPlus
I Got Rhythm (Hard Version)
Piano Quatuor: piano, violon, alto, violoncelle
Hard version. Composed by George Gershwin (1898-1937). 20th Century. Score and Parts. …
(+)
Hard version. Composed by George Gershwin (1898-1937). 20th Century. Score and Parts. 25 pages. SheetmusicLAB #CL- MOD-12301. Published by SheetmusicLAB
$33.33
30.67 €
#
Piano Quatuor: piano, violon, alto, violoncelle
#
George Gershwin
#
I Got Rhythm
#
SheetmusicLAB
#
SheetMusicPlus
Bach-Gounod: Ave Maria, Schwencke version for Viola & Piano
Alto, Piano
Piano,Viola - Level 2 - Digital Download SKU: A0.550913 Composed by J. S. Bach - Go…
(+)
Piano,Viola - Level 2 - Digital Download SKU: A0.550913 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and part. 12 pages. Jmsgu3 #4888187. Published by jmsgu3 (A0.550913). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 6 pages. Solo part: 2 pages, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. Â
$32.95
30.32 €
#
Alto, Piano
#
J
#
James M
#
Bach-Gounod: Ave Maria, Schwencke version for Viola & Piano
#
jmsgu3
#
SheetMusicPlus
Gottes Macht und Vorsehung-Beethoven-string quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.8…
(+)
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.845171 Composed by Ludwig van Beethoven. Arranged by Phil Beaman. Classical,Romantic Period,Sacred,Standards. Score and parts. 6 pages. Phil Beaman #6293609. Published by Phil Beaman (A0.845171). Gottes Macht und Vorsehung (God's Power and Providence) was composed by the Master, L. van Beethoven. It is the fifth of the Sechs Lieder (Six Songs), published in 1803, which foreshadowed the Art Songs of the Romantic Era. Originally for Voice and Piano, I have arranged it for Instrumental Quartet. My arrangement stays true to Beethoven's intent to capture the passion of the original text in the music. (The texts are all sacred poems by Gellert.) Without the presence of lyrics I needed to create musical interest and interpretation, so I realized inner voices and polyphony out of his original homophonic accompaniment. I added new shape to individual lines, altered phrasing, elaborated rhythms, and in true Beethoven style added more dynamic markings. The mood and meaning are now stunningly portrayed through music alone. Gottes Macht is an easy short piece full of strength and fire with a steady march pulse.
$7.99
7.35 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Ludwig van Beethoven
#
Phil Beaman
#
Gottes Macht und Vorsehung-Beethoven-string quartet
#
Phil Beaman
#
SheetMusicPlus
Die Ehre Gottes aus der Natur-Beethoven-string quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.8…
(+)
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.845169 Composed by Ludwig van Beethoven. Arranged by Phil Beaman. Classical,Romantic Period,Sacred,Standards. Score and parts. 7 pages. Phil Beaman #6293581. Published by Phil Beaman (A0.845169). Die Ehres Gottes aus der Natur (The Glory of God in Nature) was composed by the Master, L. van Beethoven. It is the fourth of the Sechs Lieder (Six Songs), published in 1803, which foreshadowed the Art Songs of the Romantic Era. Originally for Voice and Piano, I have arranged it for Instrumental Quartet. My arrangement stays true to Beethoven's intent to capture the passion of the original text in the music. (The texts are all sacred poems by Gellert.) Without the presence of lyrics I needed to create musical interest and interpretation, so I realized inner voices and polyphony out of his original homophonic accompaniment. I added new shape to individual lines, altered phrasing, elaborated rhythms, and in true Beethoven style added more dynamic markings. The mood and meaning are now stunningly portrayed through music alone. Die Ehres Gottes is full of joyous majesty and wonder. It has been made into a popular anthem and hymn under the title The Heavens Are Telling. Â
$8.99
8.27 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Ludwig van Beethoven
#
Phil Beaman
#
Die Ehre Gottes aus der Natur-Beethoven-string quartet
#
Phil Beaman
#
SheetMusicPlus
Wayfarin Stranger with I Need Jesus... (Arrangements Level 3-5 for VIOLA + Written acc)
Alto seul
Viola Solo - Level 3 - Digital Download SKU: A0.875348 Composed by Traditional. Arr…
(+)
Viola Solo - Level 3 - Digital Download SKU: A0.875348 Composed by Traditional. Arranged by Dr Jerry Nelson. Christian,Concert,Instructional,Jazz,Spiritual. Individual part. 11 pages. Jerry Nelson #3877935. Published by Jerry Nelson (A0.875348). Gotta love this SIGNATURE Arrangement. Cool JAZZ on Wayfarin' Stranger with I Need Jesus to Walk With Me. Stairstep from Level 3 to 5 using Jerry Nelson's unique Dual Staff System. Bonus (3 performance options): Written Pno Accomp included, plus Chord Chart for live rhythm. Or perform with this stunning Orchestral Accompaniment Track (#SO.434387). Time 4:06. Visit www.JerryNelsonMusic.com for your FREE 16-minute Mega-Medley Arrangement and Track. Whether you play winds or strings or '88 keys', you've found a goldmine of awesome arrangements. Share them with your friends. SEARCH Jerry Nelson (plus your instrument's name). You may include a Title... or Genre (Ex: Style, specific Holiday, Musical Period).
$4.99
4.59 €
#
Alto seul
#
Traditional
#
Dr Jerry Nelson
#
Written
#
Wayfarin Stranger with I Need Jesus...
#
Jerry Nelson
#
SheetMusicPlus
I Got Rhythm: Part 3 - Viola
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0018499_PART3_VA Instructional. 1 pag…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0018499_PART3_VA Instructional. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0018499_PART3_VA. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018499_PART3_VA). UPC: 038081563671.
$3.00
2.76 €
#
Orchestre d'harmonie
#
I Got Rhythm: Part 3 - Viola
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Peter Pan Live: 3rd Violin (Viola [TC])
Orchestre à Cordes
String Orchestra - Digital Download SKU: AX.00-PC-0016872_VN3 3rd Violin (Viola …
(+)
String Orchestra - Digital Download SKU: AX.00-PC-0016872_VN3 3rd Violin (Viola [TC]). Composed by Carolyn Leigh and Mark Charlap. Arranged by Bob Cerulli. Movie. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016872_VN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016872_VN3). UPC: 038081501079.In classic musical theater style with delightful rhythmic and harmonic coloring, this medley will take the audience and orchestra on a trip to Neverland that will never be forgotten. I'm Flying and I Won't Grow Up are featured. (4:10).
$5.99
5.51 €
#
Orchestre à Cordes
#
Carolyn Leigh and Mark Charlap
#
Bob Cerulli
#
Peter Pan Live: 3rd Violin
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Peter Pan Live: Viola
Orchestre à Cordes
String Orchestra - Digital Download SKU: AX.00-PC-0016872_VA1 Viola. Compose…
(+)
String Orchestra - Digital Download SKU: AX.00-PC-0016872_VA1 Viola. Composed by Carolyn Leigh and Mark Charlap. Arranged by Bob Cerulli. Movie. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016872_VA1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016872_VA1). UPC: 038081501079.In classic musical theater style with delightful rhythmic and harmonic coloring, this medley will take the audience and orchestra on a trip to Neverland that will never be forgotten. I'm Flying and I Won't Grow Up are featured. (4:10).
$5.99
5.51 €
#
Orchestre à Cordes
#
Carolyn Leigh and Mark Charlap
#
Bob Cerulli
#
Peter Pan Live: Viola
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Girl Crazy Musical Notebook
B-Flat Clarinet,Cello,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.1211330
(+)
B-Flat Clarinet,Cello,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.1211330 Composed by George Gershwin and Ira Gershwin. Arranged by Alexander Timofeev. Broadway,Jazz,Musical/Show,Standards. 30 pages. Alexander Timofeev #808995. Published by Alexander Timofeev (A0.1211330). Includes score, and parts: Clarinet in Bb, Piano, Violin 1, Violin 2, Viola, Cello, and optional Bass Clarinet part. The famous song by Ira and George Gershwin I Got Rhythm came from the musical Girl Crazy, and became one of the favorite jazz standards of the 20th century! This concert arrangement of I Got Rhythm for Clarinet, Piano and String Quartet, with an optional Bass Clarinet part, was completed in 2023 at the request of clarinetist Stas Chernyshev and for the premiere performance at the Opus Nova Chamber Music Series, Fort Worth, TX. You can look at other arrangements by Alexander Timofeev on Sheet Music Plus: https://www.sheetmusicplus.com/publishers/alexander-timofeev-sheet-music/3024244?Ns=salesRank%7C1&isPLP=1 and on his Youtube channel: https://www.youtube.com/playlist?list=PLYAT0Pt94D9U_aX-YCqvlVUIrJw4Q-HfR
$12.99
11.95 €
#
George Gershwin and Ira Gershwin
#
Alexander Timofeev
#
Girl Crazy Musical Notebook
#
Alexander Timofeev
#
SheetMusicPlus
I Got Rhythm: Viola
Orchestre à Cordes
By George Gershwin (1898-1937) and Ira Gershwin. Arranged by Calvin Custer. For String Orc…
(+)
By George Gershwin (1898-1937) and Ira Gershwin. Arranged by Calvin Custer. For String Orchestra. Classical. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$5.99
5.51 €
#
Orchestre à Cordes
#
George Gershwin
#
Calvin Custer
#
I Got Rhythm: Viola
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
I Got Rhythm: Viola
Orchestre à Cordes
By George Gershwin (1898-1937). Arranged by Bert Ligon. For String Orchestra. Classical. P…
(+)
By George Gershwin (1898-1937). Arranged by Bert Ligon. For String Orchestra. Classical. Part. 4 pages. Published by Alfred Music - Digital Sheet Music
$5.99
5.51 €
#
Orchestre à Cordes
#
George Gershwin
#
Bert Ligon
#
I Got Rhythm: Viola
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
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)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
22.08 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
You Are The Best Thing
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1…
(+)
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1208286 By Ray LaMontagne. By Ray LaMontagne. Arranged by Adam Overacker for String Love. 20th Century,Pop,Rock,Singer/Songwriter,Wedding. 21 pages. String Love #806388. Published by String Love (A0.1208286). String Quartet arrangement of You Are The Best Thing, the 2008 hit from Ray LaMontagne.  It's catchy and dancy and a perfect recessional song.  Arranged by Adam Overacker for String Love string quartet, this instant classic is Ray’s top song on Spotify with over 165,000,000 streams!  It’s been a constant on our playlists for preludes, cocktail hours, and ceremonies for many years.  It’s got a singable and recognizable melody, but it’s also got an infectious rhythm that is both fun to listen to and fun to play.  The song is from Ray’s album Gossip in the Grain, an album that Pop Matters calls the artist’s most cohesive, career-defining album to date.†Billboard also loved the album, saying While there's not a bad song in the bunch, once you've heard LaMontagne loosen up, you're left starving for more of it.†You Are The Best Thing has been covered by numerous artists and has appeared in movies and tv shows including I Love You, Man, Bad Moms, and American Idol.  If you’d like a version without chord changes or ossia’s just get a hold of us on our website, we’d be happy to provide that for you.  Same with violin 3 / viola tc. Be sure to check out our other arrangements as well!
$15.95
14.68 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Ray LaMontagne
#
You Are The Best Thing
#
String Love
#
SheetMusicPlus
Nobody Gets Me
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1…
(+)
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1233665 Composed by Benny Blanco, Carter Lang, and Solana Rowe. Arranged by Aaron Bennett. Country,Film/TV,Folk,Pop,Wedding. 13 pages. StringfulScores.com #829253. Published by StringfulScores.com (A0.1233665). Nobody Gets Me from SZA’s recent “SOS†album, as heard in Netflix's brand new season 3 of BRIDGERTON (“Queen Charlotte: A Bridgerton Storyâ€) arranged for String Quartet by Aaron Bennett.This arrangement is inspired by both the original song and soundtrack cover by Caleb and Brian Chan, with melodic interest for all players. Please note the tempo of this arrangement is approximately half way between SZA’s album recording and the Chan cover in order to retain some of the original song’s rhythmic lilt, whilst being steady enough to play the semiquaver rhythms more comfortably and somewhat nod to the slightly slower feel of the cover version. Get your quartet on trend with one of the latest songs to receive the BRIDGERTON makeover!This song is also available for String Trio (opt. Vln2/Vla). View all BRIDGERTON arrangements via the Stringful Scores YouTube playlist!BRIDGERTON arrangements by Aaron Bennett also available:- If I Ain't Got You (Alicia Keys) - String Quartet/Trio/Duo/Piano Trio- I Will Always Love You (Whitney Houston) - String Quartet/Trio/Duo- Nobody Gets Me (SZA) - String Quartet/String Trio- Deja Vu (Beyonce ft. Jay-Z) - String Quartet- Wrecking Ball (Miley Cyrus) - String Quartet/Trio/Duo- Sign of the Times (Harry Styles) - String Quartet/Trio   - What About Us (P!nk) - String Quartet/Trio- Dancing On My Own (Robyn) - String Duo- Material Girl (Madonna) - String Duo/Piano Trio- Wildest Dreams (Taylor Swift) - String Duo- Thank U, Next (Ariana Grande) - String Duo- Girls Like You (Maroon 5) - String Duo- In My Blood (Shawn Mendes) - String Duo- Bridgerton Theme (Kris Bowers) - String Duo (Vln/Vc, Vln/Vla & Vln Duo)/Piano TrioFor more arrangements by Aaron Bennett, visit: StringfulScores.com
$15.99
14.72 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Benny Blanco, Carter Lang, and Solana Rowe
#
Aaron Bennett
#
Nobody Gets Me
#
StringfulScores.com
#
SheetMusicPlus
Thunderstruck
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1…
(+)
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1154393 By AC/DC. By Angus Mckinnon Young and Malcolm Mitchell Young. Arranged by Graham Boag. Contemporary,Rock. Score and parts. 36 pages. Graham Boag #754677. Published by Graham Boag (A0.1154393). Thunderstruck is the lead single from the 1990 album The Razors Edge by Australian hard rock band AC/DC. It peaked at No. 5 on the US Billboard Hot Mainstream Rock Tracks. In 2010, Thunderstruck topped Triple M Melbourne's Ultimate 500 Rock Countdown in Australia. The top five were all AC/DC songs. Angus Young stated in the liner notes of the 2003 re-release of The Razors Edge: It started off from a little trick I had on guitar. I played it to Mal and he said 'Oh, I've got a good rhythm idea that will sit well in the back.' We built the song up from that. We fiddled about with it for a few months before everything fell into place. Lyrically, it was really just a case of finding a good title ... We came up with this thunder thing, based on our favourite childhood toy ThunderStreak, and it seemed to have a good ring to it. AC/DC = Power. That's the basic idea. The song has sold over a million digital copies since it became available for digital download and is one of the most recognisable in the bands' entire catalogue and it is a setlist staple having been performed at nearly all shows since its release.
$16.99
15.64 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
AC/DC
#
Graham Boag
#
Thunderstruck
#
Graham Boag
#
SheetMusicPlus
10,000 Reasons (bless The Lord)
Guitar - Level 2 - Digital Download SKU: A0.1213599 By Matt Redman. By Jonas Myrin …
(+)
Guitar - Level 2 - Digital Download SKU: A0.1213599 By Matt Redman. By Jonas Myrin and Matt Redman. Arranged by Kyle Pudenz. Christian,Praise & Worship,Religious,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #810792. Published by ViolinVagabond Music (A0.1213599). Here's a chart designed for the last-minute gigging musician, by the last-minute gigging musician. Indeed, I got called in to sub on a solo violin wedding gig on less than 24 hours' notice, and found this song right at the top of the list. Having not played or listened to it in... a while, I decided to display some semblance of due dilligence and write out a version that would work in the range of a solo instrumental violin. Then, and don't ask me where this sudden magnanimous streak came from, I decided to spin up the same chart with lyrics and chord diagrams just in case I ever needed to play it with a vocalist.Out of the goodness of my heart, ALL of the above is available to you for the low low price of (insert current minimum price for SMP chart). While I was tabbing this out from the perspective of a violinist, the range is pretty universal and should be playable on just about any treble clef instrument. Including the viola... although if you got hired to play solo viola at a wedding or a church service I have questions.It's nothing spectacular, but here's what I can promise you if you buy this chart:- THE CHORDS ARE RIGHT. I honestly can't believe there are people that get the chords to worship songs wrong on their arrangements, but here we are. Rest assured I am not one of them.- YOU CAN ACTUALLY READ IT. Finale collisions and terrible interpretations of vocal rhythms need not apply here.- THE MELODY WILL WORK ON YOUR INSTRUMENT. Again, this is not one of those hyper-transcriptions of every little vocal ornament that was sang on the studio version. I purposefully chose where to simplify vs. embellish the melody so that there's room for instrumental interpretation without getting lost in the details.May this humble arranger's last-minute busy work bring joy to your audience and at least an extra 30 minutes of sleep to you by not having to learn this song the night before the gig. Enjoy the hustle, friends.
$3.99
3.67 €
#
Matt Redman
#
Kyle Pudenz
#
10,000 Reasons
#
ViolinVagabond Music
#
SheetMusicPlus
Come Home To You
Guitar - Level 3 - Digital Download SKU: A0.1320143 By Ian Munsick. By Dave Villa, …
(+)
Guitar - Level 3 - Digital Download SKU: A0.1320143 By Ian Munsick. By Dave Villa, Ian Munsick, Jamie Kenney, and Niko Moon. Arranged by Kyle Pudenz. 21st Century,Contemporary,Country,Pop,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #908674. Published by ViolinVagabond Music (A0.1320143). Here's a chart designed for the last-minute gigging musician, by the last-minute gigging musician. Indeed, I got called in to sub on a wedding gig on less than a week's notice, and found this song right at the top of the list. Having not played or listened to it... ever, I decided to display some semblance of due dilligence and write out a version that would work in the range of a solo instrumental violin. Then, and don't ask me where this sudden magnanimous streak came from, I decided to spin up the same chart with lyrics and chord diagrams just in case I ever needed to play it with a vocalist.Out of the goodness of my heart, ALL of the above is available to you for the low low price of about 5 bucks. While I was tabbing this out from the perspective of a violinist, the range is pretty universal and should be playable on just about any treble clef instrument. Including the viola... although if you got hired to play solo viola at a wedding or a cocktail hour I have questions.It's nothing spectacular, but here's what I can promise you if you buy this chart:- THE CHORDS ARE RIGHT. I honestly can't believe there are people that get the chords to songs like these wrong on their arrangements, but here we are. Rest assured I am not one of them.- YOU CAN ACTUALLY READ IT. Finale collisions and terrible interpretations of vocal rhythms need not apply here.- THE MELODY WILL WORK ON YOUR INSTRUMENT. Again, this is not one of those hyper-transcriptions of every little vocal ornament that was sang on the studio version. I purposefully chose where to simplify vs. embellish the melody so that there's room for instrumental interpretation without getting lost in the details.May this humble arranger's last-minute busy work bring joy to your audience and at least an extra 30 minutes of sleep to you by not having to learn this song the night before the gig. Enjoy the hustle, friends.
$4.99
4.59 €
#
Ian Munsick
#
Kyle Pudenz
#
Come Home To You
#
ViolinVagabond Music
#
SheetMusicPlus
Of The Father's Love Begotten
Orchestre
Composed by Matt Riley. For Violin,Full Orchestra. Christian,Sacred,Pop,Christmas,Folk. Ad…
(+)
Composed by Matt Riley. For Violin,Full Orchestra. Christian,Sacred,Pop,Christmas,Folk. Advanced. Published by www.mattrileymusic.com
Of The Father's Love Begotten (Full Score and Parts). Part of Matt Riley's Epic Christmas Series, this magical Celtic/Pop arrangement for solo violin and pop orchestra will enchant and amaze audiences. Video: https://youtu.be/W-VgxjT5FME Includes Conductor?s Score ? Piccolo ? Flute ? Penny-whistle ? Clarinet in Bb I ? Clarinet in Bb II ? French Horn I ? French Horn II ? French Horn III ? French Horn IV ? Trumpet I ? Trumpet II ? Trumpet III ? Trombone I ? Trombone II ? Bass Trombone/Tuba ? Timpani ? Glockenspiel ? Bass Drum ? Sus Cymbals ? Mark Tree ? Shaker / Sleigh Bells ? Tambourine / Toms ? Rhythm Section ? Harp ? Solo Violin ? Violin I ? Violin II ? Viola ? Cello ? Contrabass. Duration 3 minutes, 25 seconds. Standard notation except for the Rhythm Section part which is written with chord symbols over slash/rhythmic notation for Drum Set, Bass Guitar and Mandolin to follow. Published by www.mattrileymusic.comOf The Father's Love Begotten (Full Score and Parts). Part of Matt Riley's Epic Christmas Series, this magical Celtic/Pop arrangement for solo violin and pop orchestra will enchant and amaze audiences. Video: https://youtu.be/W-VgxjT5FME Includes Conductor?s Score ? Piccolo ? Flute ? Penny-whistle ? Clarinet in Bb I ? Clarinet in Bb II ? French Horn I ? French Horn II ? French Horn III ? French Horn IV ? Trumpet I ? Trumpet II ? Trumpet III ? Trombone I ? Trombone II ? Bass Trombone/Tuba ? Timpani ? Glockenspiel ? Bass Drum ? Sus Cymbals ? Mark Tree ? Shaker / Sleigh Bells ? Tambourine / Toms ? Rhythm Section ? Harp ? Solo Violin ? Violin I ? Violin II ? Viola ? Cello ? Contrabass. Duration 3 minutes, 25 seconds. Standard notation except for the Rhythm Section part which is written with chord symbols over slash/rhythmic notation for Drum Set, Bass Guitar and Mandolin to follow. Published by www.mattrileymusic.com
$349.00
321.19 €
#
Orchestre
#
Matt Riley
#
Of The Father's Love Begotten
#
www.mattrileymusic.com
#
SheetMusicPlus
Long Live Cowgirls
Guitar - Level 3 - Digital Download SKU: A0.1320152 By Ian Munsick & Cody Johnson. …
(+)
Guitar - Level 3 - Digital Download SKU: A0.1320152 By Ian Munsick & Cody Johnson. By Aby Gutierrez, Ian Munsick, and Phil O'Donnell. Arranged by Kyle Pudenz. 21st Century,Contemporary,Country,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #908681. Published by ViolinVagabond Music (A0.1320152). Here's a chart designed for the last-minute gigging musician, by the last-minute gigging musician. I got called in to play this tune as an instrumental duo at a wedding. Admittedly, it takes a very specific type of wedding for this to be the vibe for the entrance of the bridesmaids, but perhaps you too may find yourself in this same situation. Fortunately I am here to help!Whether you're performing this with a vocalist or as an instrumental solo/ensemble like me, this chart has everything you need. Chords/lyrics version AND an instrumental (treble clef) lead sheet are included, all for the low low price of about 5 bucks. While I was tabbing this out from the perspective of a violinist, the range is pretty universal and should be playable on just about any treble clef instrument. Including the viola... although if you got hired to play solo viola at a wedding or a cocktail hour I have questions.My promises to you if you buy this chart:- THE CHORDS ARE RIGHT. I honestly can't believe there are people that get the chords to songs like these wrong on their arrangements, but here we are. Rest assured I am not one of them.- YOU CAN ACTUALLY READ IT. Finale collisions and terrible interpretations of vocal rhythms need not apply here.- THE MELODY WILL WORK ON YOUR INSTRUMENT. Again, this is not one of those hyper-transcriptions of every little vocal ornament that was sang on the studio version. I purposefully chose where to simplify vs. embellish the melody so that there's room for instrumental interpretation without getting lost in the details.May this humble arranger's last-minute busy work bring joy to your audience and at least an extra 30 minutes of sleep to you by not having to learn this song the night before the gig. Enjoy the hustle, friends.
$4.99
4.59 €
#
Ian Munsick & Cody Johnson
#
Kyle Pudenz
#
Long Live Cowgirls
#
ViolinVagabond Music
#
SheetMusicPlus
<
1
26
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
