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--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
In Parallel
Non classifié
113
Piano & claviers
Piano seul
139
Piano Facile
51
1 Piano, 4 mains
18
Orgue
11
Piano, Voix
4
Instruments en Do
3
Piano, Voix et Guitare
3
Piano Trio: piano, violon, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
1
2 Pianos, 4 mains
1
+ 5 instrumentations
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Guitares
Guitare
7
Guitare notes et tablatures
4
Banjo
1
Voix
Chorale SATB
26
Chorale 3 parties
13
Chorale 2 parties
8
Chorale TTBB
3
Chorale SSAB a cappella
2
Chorale Unison
1
Voix Baryton, Piano
1
Chorale SSAA
1
+ 3 instrumentations
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Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
4
Quatuor de Saxophones: 4 saxophones
4
Flûte traversière et Piano
4
3 Saxophones (trio)
3
2 Saxophones (duo)
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Flûte, Violon et Violoncelle
2
2 Hautbois (duo)
2
Flûte, Hautbois, Basson
2
Flûte, Clarinette et Basson
2
Hautbois, Piano (duo)
2
2 Flûtes traversières (duo)
2
Quatuor de Clarinettes: 4 clarinettes
2
Quatuor de Flûtes à bec
1
Quatuor de Flûtes : 4 flûtes
1
Flûte traversière
1
Clarinette, Violoncelle (duo)
1
Flûte, Violoncelle
1
Quintette de Saxophone: 5 saxophones
1
2 Flûte à bec (duo)
1
3 Clarinettes (trio)
1
Saxophone Soprano et Piano
1
Hautbois, Basson (duo)
1
Clarinette, Violon (duo)
1
Flûte, Hautbois (duo)
1
2 Clarinettes (duo)
1
Flûte, Hautbois, Clarinette, Basson
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Clarinette, Basson (duo)
1
+ 24 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
9
2 Trombones (duo)
2
2 Trompettes (duo)
2
2 Cors (duo)
2
Trompette
2
3 Trombones (trio)
1
2 Tubas (duo)
1
+ 2 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
31
Harpe
15
Trio à Cordes: violon, alto, violoncelle
12
2 Violons (duo)
8
Violon et Piano
5
2 Violoncelles (duo)
3
Violon, Violoncelle (duo)
2
Alto, Piano
2
Violoncelle
2
Violoncelle, Piano
2
2 Altos (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Violon, Alto (duo)
2
Violon
2
Violon, Basson (duo)
1
Violoncelle, Orgue
1
Violon (partie séparée)
1
4 Violoncelles
1
Alto seul
1
Alto, Violoncelle (duo)
1
+ 15 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
12
Orchestre à Cordes
10
Orchestre
9
Orchestre de chambre
2
Cloches
1
Ensemble de Percussions
1
Piano et Orchestre
1
Percussion (partie séparée)
1
Ensemble Jazz
1
Jazz combo
1
Batterie
1
Vibraphone
1
+ 7 instrumentations
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Autres
Instruments
ACCORDEON
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AUTRES INST…
BALALAIKA
BANJO
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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
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--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
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VIOLONCELLE
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METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
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OLD TIME - EARLY ROC…
OPERA
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POP ROCK - ROCK CLAS…
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In Parallel
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601
Mauro Giuliani: Sonatina in C op.71 no.1
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Guitare
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INTERMÉDIAIRE
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Classique
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Mauro Giuliani
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Socrates Arvanitakis
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Mauro Giuliani: Sonatina in C
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Socrates Arvanitakis
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 19 pages. ...
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Solo Guitar - Level 3 - SKU: A0.1392100 Composed by Mauro Giuliani (1781-1829). Arranged by Socrates Arvanitakis. Classical. Individual part. 19 pages. Socrates Arvanitakis #975591. Published by Socrates Arvanitakis (A0.1392100). PREFACE AND BRIEF ANALYTICAL NOTESThe three sonatinas op.71 by Mauro Giuliani in C, G, and D were first published in 1816 in Vienna and were intended as student pieces of progressive difficulty. In parallel with this intention they are also fully developed three-movement works which reveal Giulianiâ??s technique as a composer with harmony, counterpoint, and structure.They certainly have the time length and the variety of full scale sonatas, but here Giuliani has chosen to use the supporting structures of sonatas met in movements other than the first, such as Menuetto and Trio, Rondo, Marcia and Trio, Scherzo and Trio, etc,  rather than sonata form itself.As it stands, this first sonatina in C has the following three movements:1 Maestoso (Moderato) which is a set of a theme and three variations, or better termed as a set of mathematical divisions reminiscent of an earlier era, as the accompaniment of the theme is given in crotchets, quavers, quaver triplets, and semi-quavers.2 Menuetto-Trio-Menuetto da capo written typically in the subdominant key of F and fully developed as per classical 19th century usage.3 Rondo. This movement is also written in a classical rondo style and form as an A-B-A-C-B-A-codetta  structure, with a typical tonal scheme of A in the tonic Key (C), B in the dominant key (G), and C in the relative minor key (Am).Therefore in this work we do not meet with structural innovations of any kind, but with strong affirmation of already existing and well established early 19th century structural norms, but the beautiful personal melodic and harmonic style of Giuliani and even his routine guitaristic nuances and formulas are present in all three movements and can be enjoyed as always.TECHNICALThis publication keeps each separate movement within the limit of two pages, thus avoiding page turns. It is published with two versions of the same pieces given in undecorated and decorated pages for the user to select which version he prefers to print out. Blank pages have been provided for insertion/deletion for the correct placement of left-right hand pages.Metronome marks are only editorial suggestions that need not be taken too literally.Sibelius Mp3 archive has been extracted for this publication using Note Performer playback engine.Socrates ArvanitakisLondon 2024.
$6.00
In the Locked Room
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Huw Watkins
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In the Locked Room
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Schott Music - Digital
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SheetMusicPlus
1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str - SKU: S9.Q23800 Opera in 1 act. Composed by Huw Watkin...
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1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str - SKU: S9.Q23800 Opera in 1 act. Composed by Huw Watkins. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 45 minutes. Schott Music - Digital #Q23800. Published by Schott Music - Digital (S9.Q23800). English.Taking Thomas Hardy’s short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person’s actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur. Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely. Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan. As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world.Wenn wir den Ausgangspunkt von Thomas Hardy Geschichte betrachten, fühlen wir uns in die Gegenwart, zu einem heutigen Blick auf die Novelle transportiert. Diese Sicht verdeutlicht, welche Macht der menschliche Geist über die Handlungen einer Person hat. Eine verschlossene Tür kann eine Obsession so entzünden, dass Realität und Fantasie zu verschwimmen beginnen.
$40.99
In the Locked Room
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Huw Watkins
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In the Locked Room
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Schott Music - Digital
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SheetMusicPlus
1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str - SKU: S9.Q23450 Opera in 1 act. Composed by Huw Watkin...
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1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str - SKU: S9.Q23450 Opera in 1 act. Composed by Huw Watkins. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 45 minutes. Schott Music - Digital #Q23450. Published by Schott Music - Digital (S9.Q23450). English.Taking Thomas Hardy’s short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person’s actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur. Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely. Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan. As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world.Wenn wir den Ausgangspunkt von Thomas Hardy Geschichte betrachten, fühlen wir uns in die Gegenwart, zu einem heutigen Blick auf die Novelle transportiert. Diese Sicht verdeutlicht, welche Macht der menschliche Geist über die Handlungen einer Person hat. Eine verschlossene Tür kann eine Obsession so entzünden, dass Realität und Fantasie zu verschwimmen beginnen.
$53.99
Brahms: 4 Ballades Op.10 No.1 Ballade in D minor - symphonic wind dectet/bass
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Classique
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Johannes Brahms
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Ray Thompson
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Brahms: 4 Ballades Op.10 No.1
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1486677 Composed by Johannes Brahms. Arranged by Ray Thompson. 19th Century,Romantic Pe...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1486677 Composed by Johannes Brahms. Arranged by Ray Thompson. 19th Century,Romantic Period. 17 pages. RayThompsonMusic #1063742. Published by RayThompsonMusic (A0.1486677). The Ballades, Op. 10, are lyrical piano pieces written by Johannes Brahms during his youth. They were dated 1854 and were dedicated to his friend Julius Otto Grimm. Their composition coincided with the beginning of the composer's lifelong affection for the pianist and composer Clara Schumann, who was helping Brahms launch his career. Frédéric Chopin had written the last of his famous ballades only 12 years earlier, but Brahms approached the genre differently from Chopin, choosing to take its origin in narrative poetry more literally.Brahms's ballades are arranged in two pairs of two, the members of each pair being in parallel keys. The first ballade was inspired by a Scottish poem Edward found in a collection Stimmen der Völker in ihren Liedern compiled by Johann Gottfried Herder. It is also one of the best examples of Brahms's bardic or Ossianicstyle; its open fifths, octaves, and simple triadic harmonies are supposed to evoke the sense of a mythological past.This is my arrangement of no.1 in D minor for symphonic wind dectet (decet/double wind quintet) and bass.
$19.95
Study in Thirds for String Quintet (2019) - Score and Parts
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Contemporain
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Richard St
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Study in Thirds for String Qui
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Richard St. Clair
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SheetMusicPlus
String Ensemble,String Quintet - Level 4 - SKU: A0.939811 Composed by Richard St. Clair. 20th Century,Contemporary. Score and parts. 32 pages. Richard S...
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String Ensemble,String Quintet - Level 4 - SKU: A0.939811 Composed by Richard St. Clair. 20th Century,Contemporary. Score and parts. 32 pages. Richard St. Clair #4756725. Published by Richard St. Clair (A0.939811). This work, as the title suggests, is a study in parallel thirds, tenths, and triads. The experimental nature of this composition belies its attractiveness as an interesting entry in a chamber concert. In four short movements, the duration is about 5 minutes. Score with Parts appended.
$20.00
Prelude No.14 in F# minor from 24 Preludes
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Piano seul
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INTERMÉDIAIRE
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Michael Bomier
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Prelude No.14 in F# minor from
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Michael Butkus-Bomier
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.862438 Composed by Michael Bomier. Classical,Contemporary,Sacred,Standards. Score. 2 pages. Michael Butkus-Bomier #200728...
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Piano Solo - Level 3 - SKU: A0.862438 Composed by Michael Bomier. Classical,Contemporary,Sacred,Standards. Score. 2 pages. Michael Butkus-Bomier #2007285. Published by Michael Butkus-Bomier (A0.862438). Based on the Aeolian mode from medieval times, but in a key that did not exist back then! Step-wise melodic motion, and bass tracks treble throughout, except for two places marked with an asterisk. Four-part harmony moving in parallel, as might the two-part organum of the 14th century. But, you'll find these chords rich and smooth, as the colours subtly shift with each rise and fall of the line. About 4 mins, can go even slower, if you want move time for each chord to resonate. Great for liturgical or ceremonial use as well as concert or recital performance.
$2.99
Piano Trio in C minor, Op. 143
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Piano Trio: piano, violon, violoncelle
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INTERMÉDIAIRE
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Classique
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Ferdinand Ries
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Dianne James
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Piano Trio in C minor, Op. 143
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Artaria Editions
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SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1...
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Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1064752. Published by Artaria Editions (A0.1487814). The Piano Trio in C minor Op.143 was published by Schott in 1826, but could have been composed much earlier for Ries's personal use in the London concert halls. It is an imposing work, whose gruff tone and serious purpose recall Beethoven's use of this key. The first movement is an impressive sonata-form movement extending to a length of almost 250 bars. It contains two strikingly contrasted themes, one aggressively assertive, the other of a more lyrical, tender character (parallels to Beethoven's thematic tendencies in sonata-form movements are once again clearly apparent). The Adagio movement, cast in the rich colours of A flat major (the tonic minor - flat submediant major key relationship recalls Beethoven once again) contains some moments of real beauty and musical insight. The piano is often centrestage, its florid lines and ornamental flourishes reminiscent of another of Ries's contemporaries, Hummel. The technique of connected second and third movements seen in this work is not new but was a trend established in the piano trio genre by Joseph Haydn in the 1780s and 90s. The oasis of calm and tranquillity created in the Adagio is shattered dramatically by the jagged arpeggio figure which launches the finale. This extremely fast movement - the metronome marking indicates that the music should be felt in two, not in four - is characterised by the tarantella topos. It is a tremendously exciting movement, whose swirling energy and frantic pace is only reined in at the final cadence. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Schott's 1826 edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The metronome markings at the head of each movement derive from this source. The piano compass extends from E flat 1 to a flat 4, a range of just over six octaves. Pedal markings indicated in the source have not been included in the current edition since these are generally very instrument-dependent. Minor rhythmic inconsistences between different statements of the same theme have been retained (e.g. first movement, second subject, bb.51-52, cello and 188-89, violin), as have some differences in phrasing between successive thematic statements (cf. finale, piano bb.3-6 and violin bb.18-21). The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.
$37.00
Parallel Tracks
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Piano Quatuor: piano, violon, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Terry Vosbein
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Parallel Tracks
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Max Frank Music
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SheetMusicPlus
Piano Quartet Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1404728 Composed by Terry Vosbein. 21st Century,Chamber,Classical. 57 pages. Max Frank Music ...
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Piano Quartet Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1404728 Composed by Terry Vosbein. 21st Century,Chamber,Classical. 57 pages. Max Frank Music #987795. Published by Max Frank Music (A0.1404728). “Parallel Tracks†was primarily inspired by a ten day train trip, from the heart of Virginia to the far west and back. It is not necessarily a narrative of that journey. Rather, it is a collage of sensations, taking in the sounds, smells, tastes, and feelings of the voyage. Much like the views through the train windows, the musical vistas of this work change rapidly. There are rolling fertile plains, deep river valleys, and jagged mountainous peaks. The train passes through some of the nations’s larg- est cities and some of its tiniest bergs, crosses some of the oldest and newest mountain ranges in the country. There are tunnels and trestles, forests, farms, and prairies. It is incredibly calm yet delightfully exciting.There is something elegant about spending an extended period crossing the country in an Amtrak roomette. On such trains as the Cardinal, the Empire Builder, the Coast Starlight, and the Califor- nia Zephyr, it feels as if one is stepping into the past. Nothing is rushed. Fine dining, spectacular views, riveting conversations with strangers. The grandeur of the mighty stations, such as Union Station in Chicago. And the humble beauty of the smaller stops like Staunton, Virginia, my starting and ending point.The perpetual motion of train travel is unique. The movement can feel smooth at times and bone rattling just a few minutes later. It can be a quiet purr or the sound of grating metal. And yet the gentle sway can envelop one like a blanket, enticing deep sleep throughout the night. Waking to pastries and coffee while rolling across the countryside is divine. And elegant.“Parallel Tracks†begins with a sound of forward motion put forth by the piano. Smooth and easy. Plucked strings ride on top of the steady piano pad as the chain of cars passes effortlessly through fields. As the cello presents the first theme, a more strident feeling is revealed and explored, driv- ing the engine toward its dramatic destinations. The first climax gives way to a playful scherzo-like section, the elegance of the journey on full display. The return of the first theme at a more majestic tempo announces that the voyage’s terminus is near.The parallel tracks on which a train glides are always a fixed distance and never cross. The parallel tracks of life are not so bound by mathematics. There is something more fluid when the tracks are allowed to cross. The string section and the piano each create their own track in this composition, frequently squaring off. At times it is if they are on the same train but sitting in opposite directions and on the opposite side of the car. There are moments that even sound as if they are proceeding at two different speeds. But their tracks are never too divergent, never really out of sync. And both arrive at the final stop together.
$19.99
Joshua Fought the Battle of Jericho (in the form of a study)
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Piano seul
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FACILE
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Musique Sacrée
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Gospel Spirituel
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African American Spiritual
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Paul Taylor
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Joshua Fought the Battle of Je
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Paul Taylor
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.803349 Composed by African American Spiritual. Arranged by Paul Taylor. Blues,Gospel,Praise & Worship,Sacred,Spiritual. S...
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Piano Solo - Level 2 - SKU: A0.803349 Composed by African American Spiritual. Arranged by Paul Taylor. Blues,Gospel,Praise & Worship,Sacred,Spiritual. Score. 4 pages. Paul Taylor #6211205. Published by Paul Taylor (A0.803349). The tune is arranged in minor, and then an optional portion in the parallel major is provided (in a more bluesy style). The left hand is constantly moving and players will need to choose fingering that works them. I wrote this arrangement for my piano students, who continually are confused by the term , parallel major and how it differs from parallel minor. I've had various students over the years perform this piece on recitals with the parallel major version and without it. There is a nice transition to the parallel major, and the contrast in style between the two makes for a satisfying performance.
$1.99
Parallel Lines (Acoustic Guitar & Piano)
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Paul Barker Music
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Parallel Lines
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Paul Barker Music
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SheetMusicPlus
Guitar,Piano - Level 3 - SKU: A0.1469468 By Paul Barker Music. By Paul Barker. 21st Century,Classical,Contemporary,Contest,Festival. Score and part. 21 ...
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Guitar,Piano - Level 3 - SKU: A0.1469468 By Paul Barker Music. By Paul Barker. 21st Century,Classical,Contemporary,Contest,Festival. Score and part. 21 pages. Paul Barker Music #1047500. Published by Paul Barker Music (A0.1469468). Parallel Lines is a dynamic concert work for Acoustic Guitar and Piano inspired by minimalist stylistics which explores parallel motifs and angular themes. Scored to feature both players in the spotlight, this contemporary work is suitable for recitals, concerts and competitions. Performance Recording and Piano Accompaniment MP3 are available from www.paulbarkermusic.com and from the links below:Performance Recording MP3Piano Accompaniment MP3Level: Intermediate (Grade 5+ UK/Grade 2+ USA) Duration: 2:40 Occasion: Concert - Formal/Informal - Recitals - CompetitionsOrchestration: Acoustic Guitar - Piano.
$5.95
Parallel Lines (Electric Guitar & Piano)
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Paul Barker Music
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Parallel Lines
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Paul Barker Music
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SheetMusicPlus
Guitar,Piano - Level 3 - SKU: A0.1469462 By Paul Barker Music. By Paul Barker. 21st Century,Classical,Contemporary,Contest,Festival. Score and part. 21 ...
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Guitar,Piano - Level 3 - SKU: A0.1469462 By Paul Barker Music. By Paul Barker. 21st Century,Classical,Contemporary,Contest,Festival. Score and part. 21 pages. Paul Barker Music #1047488. Published by Paul Barker Music (A0.1469462). Parallel Lines is a dynamic concert work for Electric Guitar and Piano inspired by minimalist stylistics which explores parallel motifs and angular themes. Scored to feature both players in the spotlight, this contemporary work is suitable for recitals, concerts and competitions. Performance Recording and Piano Accompaniment MP3 are available from www.paulbarkermusic.com and from the links below:Performance Recording MP3Piano Accompaniment MP3Level: Intermediate (Grade 5+ UK/Grade 2+ USA) Duration: 2:40 Occasion: Concert - Formal/Informal - Recitals - CompetitionsOrchestration: Electric Guitar - Piano.
$5.95
Parallel Lines [Viola & Piano]
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Alto, Piano
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INTERMÉDIAIRE
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Paul Barker
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Parallel Lines [Viola & Pi
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Paul Barker Music
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.725395 Composed by Paul Barker. 20th Century,21st Century,Contemporary,Contest,Festival. Score and part. 14 pages. Paul ...
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Piano,Viola - Level 3 - SKU: A0.725395 Composed by Paul Barker. 20th Century,21st Century,Contemporary,Contest,Festival. Score and part. 14 pages. Paul Barker Music #6668729. Published by Paul Barker Music (A0.725395). Parallel Lines is a dynamic concert work for Viola and Piano inspired by minimalist stylistics which explores parallel motifs and angular themes. Scored to feature both players in the spotlight, this contemporary work is suitable for recitals, concerts and competitions.
$5.95
Parallel Lines Piano Accompaniment [Violin & Piano]
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Violon et Piano
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Paul Barker
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Parallel Lines Piano Accompani
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Paul Barker Music
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SheetMusicPlus
Piano - SKU: A0.1067083 Composed by Paul Barker. 20th Century,Contemporary,Contest,Festival,Standards. Accompaniment. Duration 149. Paul Barker Music #6...
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Piano - SKU: A0.1067083 Composed by Paul Barker. 20th Century,Contemporary,Contest,Festival,Standards. Accompaniment. Duration 149. Paul Barker Music #6668727. Published by Paul Barker Music (A0.1067083). Piano Accompaniment MP3.Parallel Lines is a dynamic concert work for Violin and Piano inspired by minimalist stylistics which explores parallel motifs and angular themes. Scored to feature both players in the spotlight, this contemporary work is suitable for recitals, concerts and competitions.
$4.95
Parallel Lines Piano Accompaniment [Cello & Piano]
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Piano seul
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Paul Barker
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Parallel Lines Piano Accompani
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Paul Barker Music
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SheetMusicPlus
Piano - SKU: A0.1067085 Composed by Paul Barker. 20th Century,Contemporary,Contest,Festival,Standards. Accompaniment. Duration 148. Paul Barker Music #6...
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Piano - SKU: A0.1067085 Composed by Paul Barker. 20th Century,Contemporary,Contest,Festival,Standards. Accompaniment. Duration 148. Paul Barker Music #6668735. Published by Paul Barker Music (A0.1067085). Piano Accompaniment Mp3.Parallel Lines is a dynamic concert work for Cello and Piano inspired by minimalist stylistics which explores parallel motifs and angular themes. Scored to feature both players in the spotlight, this contemporary work is suitable for recitals, concerts and competitions.
$4.95
Parallel Lines (Violin & Piano)
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Violon et Piano
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INTERMÉDIAIRE
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Paul Barker
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Parallel Lines
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Paul Barker Music
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SheetMusicPlus
Piano,Violin - Level 3 - SKU: A0.725394 Composed by Paul Barker. 20th Century,21st Century,Contemporary,Contest,Festival,Standards. 14 pages. Paul Barke...
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Piano,Violin - Level 3 - SKU: A0.725394 Composed by Paul Barker. 20th Century,21st Century,Contemporary,Contest,Festival,Standards. 14 pages. Paul Barker Music #6668725. Published by Paul Barker Music (A0.725394). Parallel Lines is a dynamic concert work for Violin and Piano inspired by minimalist stylistics which explores parallel motifs and angular themes. Scored to feature both players in the spotlight, this contemporary work is suitable for recitals, concerts and competitions.
$5.95
Parallel Lines Piano Accompaniment [Viola & Piano]
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Piano seul
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INTERMÉDIAIRE
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Paul Barker
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Parallel Lines Piano Accompani
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Paul Barker Music
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SheetMusicPlus
Piano - Level 3 - SKU: A0.1067084 Composed by Paul Barker. 20th Century,Contemporary,Contest,Festival,Standards. Accompaniment. Duration 149. Paul Barke...
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Piano - Level 3 - SKU: A0.1067084 Composed by Paul Barker. 20th Century,Contemporary,Contest,Festival,Standards. Accompaniment. Duration 149. Paul Barker Music #6668731. Published by Paul Barker Music (A0.1067084). Piano Accompaniment MP3.Parallel Lines is a dynamic concert work for Viola and Piano inspired by minimalist stylistics which explores parallel motifs and angular themes. Scored to feature both players in the spotlight, this contemporary work is suitable for recitals, concerts and competitions.
$4.95
Step In Time
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Film Walt Disney
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Richard M
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Keith McCauley
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Step In Time
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Cantus Youth Choirs Publishing
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SheetMusicPlus
Cello,Choir,Double Bass,Drum Set,Electric Bass Guitar,Medium Voice,Synthesizer,Viola,Violin - Level 1 - SKU: A0.1333789 Composed by Richard M. Sherman a...
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Cello,Choir,Double Bass,Drum Set,Electric Bass Guitar,Medium Voice,Synthesizer,Viola,Violin - Level 1 - SKU: A0.1333789 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by Keith McCauley. Broadway,Film/TV,Musical/Show. 34 pages. Cantus Youth Choirs Publishing #920055. Published by Cantus Youth Choirs Publishing (A0.1333789). Cantus Youth Choirs presents Step in Time from Walt Disney's MARY POPPINS. This arrangement is for Bert and unison ensemble with heavy percussion and orchestral hits (sythensizer). All percussive choreo hits are paralleled in the drum set line. For Bert, unison ensemble, violin 1, violin 2, viola, cello, double bass, synthesizer (orchestra hits), electric bass, and drum set.
$24.99
Parallel to Reality
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Piano seul
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INTERMÉDIAIRE
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Contemporain
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B
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Parallel to Reality
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B.A. Hinman
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.989286 Composed by B.A. Hinman. 20th Century,Contemporary. Score. 1 pages. B.A. Hinman #2832113. Published by B.A. Hinman...
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Piano Solo - Level 3 - SKU: A0.989286 Composed by B.A. Hinman. 20th Century,Contemporary. Score. 1 pages. B.A. Hinman #2832113. Published by B.A. Hinman (A0.989286). This song is comprised of a 4-part harmony with the melody in the Soprano voice. It is in 3 parts, the first is diatonic major, the second is the relative minor, and the third part is the original diatonic major.
$1.99
Fantasia III "Parallel Octaves" (1994)
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Piano seul
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John Pitts
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Fantasias for solo piano
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Fantasia III "Parallel Oc
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Intensely Pleasant Music
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SheetMusicPlus
Piano Solo - SKU: A0.890691 Composed by John Pitts. 20th Century,Contemporary,Standards. Score. 8 pages. Intensely Pleasant Music #3142029. Published by...
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Piano Solo - SKU: A0.890691 Composed by John Pitts. 20th Century,Contemporary,Standards. Score. 8 pages. Intensely Pleasant Music #3142029. Published by Intensely Pleasant Music (A0.890691). From a collection of fourteen pieces 7 Airs & Fantasias for solo piano. The airs are essentially melody-dominated, and the fantasias are pieces in free form with a minimalistic use of repeated and rotating patterns.
$3.99
Flute Quartet in F major, Op.7 No.1 (Weinmann Vb: F1)
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Classique
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Johann Baptist Wanhal
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Uwe Grodd
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Flute Quartet in F major, Op.7
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Artaria Editions
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SheetMusicPlus
Cello,Flute,Viola,Violin - Level 3 - SKU: A0.1488235 Composed by Johann Baptist Wanhal. Arranged by Uwe Grodd. Classical. 52 pages. Artaria Editions #10...
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Cello,Flute,Viola,Violin - Level 3 - SKU: A0.1488235 Composed by Johann Baptist Wanhal. Arranged by Uwe Grodd. Classical. 52 pages. Artaria Editions #1065122. Published by Artaria Editions (A0.1488235). Artaria Editions AE379 The flute writing in Wanhal's quartets is a good deal less virtuosic than the solo writing found in Hofmann's quartets. The principal reason for this lies in the greater equality of part-writing and in this respect Wanhal's quartets are more modern and technically advanced than those of Hofmann. One prime example of this can be seen in Wanhal's adoption of the modern alla breve notation in first movements in preference to the fussy eight-in-a-bar favoured by Hofmann and others. There is also a greater emphasis on the development of thematic material although not to the same extent or intensity that one encounters in the composer's symphonies. In keeping with the conventional practice of the period the flute quartets were conceived to be played with a variety of possible instruments on the top part. The London publisher Welcker, for example, issued the Op. 7 set with the title page Six Quartettes for a / Hautboy or German Flute whereas Sieber styled them Six Quartetto Concertante / Pour une Flute au Hautbois. Copies of several works from the set are preserved in manuscript as string quartets and at least one work as a clarinet quartet. There is good reason to believe that the six flute quartets under consideration were conceived as a set and probably intended for immediate publication. They first appeared under Huberty's imprint in 1771 (as Op.8) and may have been composed reasonably close to the publication date. Whether Wanhal sent the works direct to Huberty is uncertain. It is very interesting to note, however, that Sieber issued the same works in a new edition the following year - it was announced on 28 January 1772 - and this seems to have been the basis for the later (undated) Welcker edition published in London and many of the extant manuscript copies.In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the Sieber print. A number of variants have been adopted from other sources, notably the Welcker edition, on the rare occasions where they appear more convincing than Sieber's text. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscript is inconsistent at in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; text underlay, where confused in the source, has been corrected; editorial emendations with no authority from the source are placed within brackets. Paul Bryan, Uwe Grodd
$53.00
Piano Trio in E flat major, Op. 2
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Piano Trio: piano, violon, violoncelle
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INTERMÉDIAIRE
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Classique
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Ferdinand Ries
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Dianne James
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Piano Trio in E flat major, Op
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Artaria Editions
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SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1488222 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 77 pages. Artaria Editions #1...
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Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1488222 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 77 pages. Artaria Editions #1065108. Published by Artaria Editions (A0.1488222). The Piano Trio in E flat, Op.2 was published by Simrock in 1807 with a dedication to Monsieur le Comte de Browne, Brigadeur au Service de S.M.J. de toutes les Russies. It is a generously proportioned work in the usual three movements. The lengthy sonata-from first movement is prefaced by a slow introduction which begins on dominant seventh harmony (a nod perhaps to Beethoven's first symphony), slowly finding its way to the tonic by the start of the Allegro section. The brief development section modulates widely, including references to keys as distant as E minor and C major, while the substantially rewritten and varied recapitulation touches on both B and G majors. The slow movement, Andante un poco Allegretto , is cast in the key of C minor and features many solos and duets for the string instruments as well as further harmonic interest, especially in the central modulating episode from bar 46. The finale is a sonata-rondo design complete with all the usual tricks, including even a remote transposition of the refrain late in the movement to B major, a technique surely learned from Beethoven. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Simrock's edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The piano part is most successfully realised on an instrument extending as far as c4, although since such instruments were by no means standard in the first decade of the 19th century, Ries has notated the part carefully to cater for instruments without an extended treble compass. Any alternative readings have been incorporated into the current edition exactly as they appear in the Simrock print. In an instance such as bars 298-309 of the finale for example, instruments with the extended compass should follow the small print in bars 298 and 309, and in between read the notes an octave higher according to the composer's 8ve marking. Instruments with a limited compass should play the notes as written, without the octave transposition of bars 299-309. The cello part contains several passages written in the treble clef. Evidence that these should sound an octave lower than written is provided by bars 74-80 of the first movement and 85-89 of the finale. In the first instance, awkward octave displacements would result if this passage were played literally; in the second instance, some unacceptable part crossing between violin and cello would result from a literal rendition of these two bars. Accordingly then, all passages written in the treble clef should be transposed down an octave. The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.
$37.00
String Trio No. 3 in A major
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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/ Wm
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William Shield
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Robert Hoskins
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String Trio No. 3 in A major
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Artaria Editions
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SheetMusicPlus
String Trio Cello,Viola,Violin - Level 3 - SKU: A0.1488228 Composed by William Shield. Arranged by Robert Hoskins. Classical. 27 pages. Artaria Editions...
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String Trio Cello,Viola,Violin - Level 3 - SKU: A0.1488228 Composed by William Shield. Arranged by Robert Hoskins. Classical. 27 pages. Artaria Editions #1065115. Published by Artaria Editions (A0.1488228). Shield's Trios, written for a continental audience, are seminal works in the composer's output and mark a new level of compositional attainment in the English chamber music repertory. Technically, they contain a wide variety of ideas which are developed with great ingenuity through a wide range of keys, dynamic contrasts and timbral effects. Aesthetically, they blend 'popular' and 'learned' taste along with 'orchestral' splendour and 18th century notions of beauty. The Trios present a dazzling range of moods and style with each work demonstrating Shield's mastery of the idiom, both in his treatment of individual instruments and in the handling of textures. While there is no shortage of melody and accompaniment, in which the violin takes the lead, there are many memorable solos for the viola and the cello in its high register. The wide range of textures includes melodic decoration, dialogue, contrast of high and low register, legato and staccato, powerful unison and double octaves. Shield's ability to incorporate arioso-like melody, the prevailing 'symphonic' style and folk elements was largely achieved through the cross-generic requirements of English comic opera (a form to which Shield devoted himself during the whole of his creative career). In general, Shield's technique results in a firm control of the way music moves - with sometimes a surprising degree of stylistic restlessness and sometimes of unexpected plainness and simplicity. The trios Shield selected for publication were issued by Longman and Broderip, London, in January 1796 under the inspection of the composer. No autograph of these works survives and Longman and Broderip's printing, a copy of which is preserved in the Bodleian Library, Oxford, under the call number Mus.Instr.I 214(15), is the only source of this edition. The title page, with its dedicatory inscription, reads: Six / TRIOS / FOR / Violin, Tenor and Violoncello, / Composed / And Inscribed to the Memory of / Jacob More Esqr. / By / Wm. SHIELD./ (Musician in Ordinary to His Majesty) / Entd. At Statn. Hall [rule] Price 10/6 / ADVERTISEMENT / These Trios were Composed chiefly for the abovementioned Celebrated Landscape Painter (in Rome) / And are Dedicated to his Memory as a Token of Gratitude for the Services he rendered the Author / during his Residence in that City. The movements which are written in the uncommon Time / of 5/4 have amused some of the most distinguished Professors both in England & Italy which / induces the Author to hope they will not be disagreeable to the Public at Large / Goodge Street, Jany. 1st 1796 / [rule] / London, Printed for the Author by Longman & Broderip, No.26, Cheapside & No.13, Haymarket. Shield's three previously unpublished string trios are preserved in autograph score in the British Library under the call number Ms.Add.51015; they provide the only source for this edition. This present edition presents as faithfully as possible the intentions of these sources. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.
$49.00
String Trio No. 4 in E major
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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/ Wm
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William Shield
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Robert Hoskins
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String Trio No. 4 in E major
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Artaria Editions
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SheetMusicPlus
String Trio Cello,Viola,Violin - Level 3 - SKU: A0.1488229 Composed by William Shield. Arranged by Robert Hoskins. Classical. 24 pages. Artaria Editions...
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String Trio Cello,Viola,Violin - Level 3 - SKU: A0.1488229 Composed by William Shield. Arranged by Robert Hoskins. Classical. 24 pages. Artaria Editions #1065116. Published by Artaria Editions (A0.1488229). Shield's Trios, written for a continental audience, are seminal works in the composer's output and mark a new level of compositional attainment in the English chamber music repertory. Technically, they contain a wide variety of ideas which are developed with great ingenuity through a wide range of keys, dynamic contrasts and timbral effects. Aesthetically, they blend 'popular' and 'learned' taste along with 'orchestral' splendour and 18th century notions of beauty. The Trios present a dazzling range of moods and style with each work demonstrating Shield's mastery of the idiom, both in his treatment of individual instruments and in the handling of textures. While there is no shortage of melody and accompaniment, in which the violin takes the lead, there are many memorable solos for the viola and the cello in its high register. The wide range of textures includes melodic decoration, dialogue, contrast of high and low register, legato and staccato, powerful unison and double octaves. Shield's ability to incorporate arioso-like melody, the prevailing 'symphonic' style and folk elements was largely achieved through the cross-generic requirements of English comic opera (a form to which Shield devoted himself during the whole of his creative career). In general, Shield's technique results in a firm control of the way music moves - with sometimes a surprising degree of stylistic restlessness and sometimes of unexpected plainness and simplicity. The trios Shield selected for publication were issued by Longman and Broderip, London, in January 1796 under the inspection of the composer. No autograph of these works survives and Longman and Broderip's printing, a copy of which is preserved in the Bodleian Library, Oxford, under the call number Mus.Instr.I 214(15), is the only source of this edition. The title page, with its dedicatory inscription, reads: Six / TRIOS / FOR / Violin, Tenor and Violoncello, / Composed / And Inscribed to the Memory of / Jacob More Esqr. / By / Wm. SHIELD./ (Musician in Ordinary to His Majesty) / Entd. At Statn. Hall [rule] Price 10/6 / ADVERTISEMENT / These Trios were Composed chiefly for the abovementioned Celebrated Landscape Painter (in Rome) / And are Dedicated to his Memory as a Token of Gratitude for the Services he rendered the Author / during his Residence in that City. The movements which are written in the uncommon Time / of 5/4 have amused some of the most distinguished Professors both in England & Italy which / induces the Author to hope they will not be disagreeable to the Public at Large / Goodge Street, Jany. 1st 1796 / [rule] / London, Printed for the Author by Longman & Broderip, No.26, Cheapside & No.13, Haymarket. Shield's three previously unpublished string trios are preserved in autograph score in the British Library under the call number Ms.Add.51015; they provide the only source for this edition. This present edition presents as faithfully as possible the intentions of these sources. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.
$49.00
String Trio No. 6 in B flat major
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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/ Wm
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William Shield
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Robert Hoskins
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String Trio No. 6 in B flat ma
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Artaria Editions
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SheetMusicPlus
String Trio Cello,Viola,Violin - Level 3 - SKU: A0.1488232 Composed by William Shield. Arranged by Robert Hoskins. Classical. 36 pages. Artaria Editions...
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String Trio Cello,Viola,Violin - Level 3 - SKU: A0.1488232 Composed by William Shield. Arranged by Robert Hoskins. Classical. 36 pages. Artaria Editions #1065119. Published by Artaria Editions (A0.1488232). Shield's Trios, written for a continental audience, are seminal works in the composer's output and mark a new level of compositional attainment in the English chamber music repertory. Technically, they contain a wide variety of ideas which are developed with great ingenuity through a wide range of keys, dynamic contrasts and timbral effects. Aesthetically, they blend 'popular' and 'learned' taste along with 'orchestral' splendour and 18th century notions of beauty. The Trios present a dazzling range of moods and style with each work demonstrating Shield's mastery of the idiom, both in his treatment of individual instruments and in the handling of textures. While there is no shortage of melody and accompaniment, in which the violin takes the lead, there are many memorable solos for the viola and the cello in its high register. The wide range of textures includes melodic decoration, dialogue, contrast of high and low register, legato and staccato, powerful unison and double octaves. Shield's ability to incorporate arioso-like melody, the prevailing 'symphonic' style and folk elements was largely achieved through the cross-generic requirements of English comic opera (a form to which Shield devoted himself during the whole of his creative career). In general, Shield's technique results in a firm control of the way music moves - with sometimes a surprising degree of stylistic restlessness and sometimes of unexpected plainness and simplicity. The trios Shield selected for publication were issued by Longman and Broderip, London, in January 1796 under the inspection of the composer. No autograph of these works survives and Longman and Broderip's printing, a copy of which is preserved in the Bodleian Library, Oxford, under the call number Mus.Instr.I 214(15), is the only source of this edition. The title page, with its dedicatory inscription, reads: Six / TRIOS / FOR / Violin, Tenor and Violoncello, / Composed / And Inscribed to the Memory of / Jacob More Esqr. / By / Wm. SHIELD./ (Musician in Ordinary to His Majesty) / Entd. At Statn. Hall [rule] Price 10/6 / ADVERTISEMENT / These Trios were Composed chiefly for the abovementioned Celebrated Landscape Painter (in Rome) / And are Dedicated to his Memory as a Token of Gratitude for the Services he rendered the Author / during his Residence in that City. The movements which are written in the uncommon Time / of 5/4 have amused some of the most distinguished Professors both in England & Italy which / induces the Author to hope they will not be disagreeable to the Public at Large / Goodge Street, Jany. 1st 1796 / [rule] / London, Printed for the Author by Longman & Broderip, No.26, Cheapside & No.13, Haymarket. Shield's three previously unpublished string trios are preserved in autograph score in the British Library under the call number Ms.Add.51015; they provide the only source for this edition. This present edition presents as faithfully as possible the intentions of these sources. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.
$49.00
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