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Vous avez sélectionné:
Quasi Lento
Partitions à imprimer
14 partitions trouvées
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Eugene Ysaye : Sonate pour violon n° 4 en mi mineur, Opus 27, Fritz Kreisler - II. Sarabande : Quasi lento
Violon
Téléchargez la partition Violon Sonate pour violon n° 4 en mi mineur, Op…
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Téléchargez la partition Violon Sonate pour violon n° 4 en mi mineur, Opus 27, Fritz Kreisler - II. Sarabande : Quasi lento de Ysaÿe. Partition pour Violon seul -- Classique
3.99 €
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Violon
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Eugene Ysaye
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Sonate pour violon n° 4 en mi
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Tomplay
Dvorak : Trio pour piano et cordes n° 4 en mi mineur op. 90, B 'Dumky' - I. Lento maestoso — Allegro quasi doppio movimento
Violon
Téléchargez la partition Violon Trio pour piano et cordes n° 4 en mi min…
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Téléchargez la partition Violon Trio pour piano et cordes n° 4 en mi mineur op. 90, B 'Dumky' - I. Lento maestoso — Allegro quasi doppio movimento de Dvorak. Partition pour Trio -- Classique
9.99 €
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Violon
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Dvorak
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Trio pour piano et cordes n°
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Tomplay
Dvorak : Trio pour piano et cordes n° 4 en mi mineur op. 90, B 'Dumky' - I. Lento maestoso — Allegro quasi doppio movimento
Violoncelle
Téléchargez la partition Violoncelle Trio pour piano et cordes n° 4 en m…
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Téléchargez la partition Violoncelle Trio pour piano et cordes n° 4 en mi mineur op. 90, B 'Dumky' - I. Lento maestoso — Allegro quasi doppio movimento de Dvorak. Partition pour Trio -- Classique
9.99 €
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Violoncelle
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Dvorak
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Trio pour piano et cordes n°
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Tomplay
Dvorak : Trio pour piano et cordes n° 4 en mi mineur op. 90, B 'Dumky' - I. Lento maestoso — Allegro quasi doppio movimento
Piano seul
Téléchargez la partition Piano Trio pour piano et cordes n° 4 en mi mine…
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Téléchargez la partition Piano Trio pour piano et cordes n° 4 en mi mineur op. 90, B 'Dumky' - I. Lento maestoso — Allegro quasi doppio movimento de Dvorak. Partition pour Trio -- Classique
9.99 €
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Piano seul
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Dvorak
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Trio pour piano et cordes n°
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Tomplay
Quasi lento
Solo instrument and keyboard - Moderately Easy - Digital Download SKU: MQ.20-619-6E…
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Solo instrument and keyboard - Moderately Easy - Digital Download SKU: MQ.20-619-6E Composed by Charles E. Callahan Jr. Funeral, Wedding. 13 pages. MorningStar Music Publishers - Digital Sheet Music #20-619-6E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.20-619-6E).
$5.00
4.59 €
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Charles E
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Quasi lento
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Quasi Lento
Guitare
Guitar - easy to intermediate - Digital Download SKU: S9.Q49752 From: C. Franck,…
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Guitar - easy to intermediate - Digital Download SKU: S9.Q49752 From: C. Franck, L’organiste (7 Pièces). Composed by Cesar Auguste Franck. Edited by Martin Hegel. Arranged by Andres Segovia. This edition: Sheet music. (c) 2019 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 2 pages. Schott Music - Digital #Q49752. Published by Schott Music - Digital (S9.Q49752). Digital publication of the piece found in the following print music collection: Asturias - 55 Classical Masterpieces from 5 Centuries.
$2.99
2.75 €
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Guitare
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Cesar Auguste Franck
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Andres Segovia
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Quasi Lento
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Schott Music - Digital
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SheetMusicPlus
Andr s Segovia - Quasi Lento - (Digital Download)
Guitare
Performed by: Andr s Segovia: Quasi Lento Digital Sheetmusic - instantly downloadable shee…
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Performed by: Andr s Segovia: Quasi Lento Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Solo, instruments: Guitar; 1 pages --
$3.99
3.66 €
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Guitare
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Andr s Segovia
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Quasi Lento
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Musicnotes
Tres Piezas para trombón solo 1995
Trombone
Tenor Trombone,Trombone Solo - Level 5 - Digital Download SKU: A0.1457582 Composed …
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Tenor Trombone,Trombone Solo - Level 5 - Digital Download SKU: A0.1457582 Composed by Leonardo Velazquez. 20th Century,Contemporary. Individual part. 5 pages. Gordon Cherry #1036610. Published by Gordon Cherry (A0.1457582). Tres Piezas para trombón solo by Mexican composer Leonardo Velázquez is a 3-movement work for unaccompanied trombone.Movement 1. Allegro scherando is playful with contrasting loud and soft sections that throw rhythmic curveballs to the listener with the odd 5/8 bar mixed in with 6/8 time.Movement 2. Andantino quasi lento is a slow lyrical movementMovement 3. Allegro moderato is sarcastic and march-like with off-balance rhythms including a 2-voice middle section that challenges the performer to convince the listener that there are two lines....a syncopated bass line and upper melody line.This outstanding work by Velázquez is about 5 1/2 minutes in length, appropriate for advanced performers.
$22.50
20.66 €
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Trombone
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Leonardo Velazquez
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Tres Piezas para trombón solo 1995
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Gordon Cherry
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SheetMusicPlus
Sonata pour Piano et Violoncelle, in F major, Op.67.
Violoncelle, Piano
Cello,Piano - Level 5 - Digital Download SKU: A0.910914 Composed by Melanie (Mel) B…
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Cello,Piano - Level 5 - Digital Download SKU: A0.910914 Composed by Melanie (Mel) Bonis. Arranged by Zellev. 20th Century,Concert,Musical/Show,Romantic Period,Wedding. Score and part. 29 pages. Zellev Music #6286933. Published by Zellev Music (A0.910914). the piece is relatively unknown to the major cellist and piano front.Mélanie Hélène Bonis, known as Mel Bonis (21 January 1858 – 18 March 1937), was a prolific French late-Romantic composer. She wrote more than 300 pieces, including works for piano solo and four hands, organ pieces, chamber music, mélodies, choral music, a mass, and works for orchestra. She attended the Paris Conservatoire, where her teachers included Cesar Franck, Ernest Guiraud, and Auguste Bazille. the piece consisted of 3 movements. Moderato quasi Andante - AllegrettoTrès lentFinal. Moderato molto - Allegro con fuoco - Quasi andante - Lento - Mouvement de l'allegro - Vivo - Mouvement de l'allegro - Maestoso - Mouvement de l'allegro sans presserit was dedicated to A Maurice Demaison. A masterpiece by Mel Bonis, French female composer who isn't forgotten, she just isn't yet discovered by the wide audience. My five cents to make it happen. This is just one of more than 300 compositions from her ouevre. Originally, it is composed for violoncello and piano, but the majority of cellists seem not to care very much about its existence... and we, double bassists are missing so badly such great sonatas -Božo Paradžik
$14.55
13.36 €
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Violoncelle, Piano
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Melanie
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Zellev
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Sonata pour Piano et Violoncelle, in F major, Op.67.
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Zellev Music
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SheetMusicPlus
Valses Poeticos by Enrique Granados
Classical guitar - Intermediate-Advanced - Digital Download SKU: M0.30555EB Compose…
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Classical guitar - Intermediate-Advanced - Digital Download SKU: M0.30555EB Composed by Lily Afshar. Solos/Studies, Classics. E-book. Mel Bay Publications - Digital Sheet Music #30555EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30555EB). ISBN 9781619115941. UPC: 1619115948. 8.75x11.75 inches.The Valses Poeticos were composed for solo piano around 1886-1887 by Enrique Granados after moving from Barcelona to Paris to study with Charles-Wilfrid de Beriot and Felip Pedrell.This book presents the seven beautiful waltzes in the Valses Poeticos for guitar, preceded by an un-waltz-like introduction (Vivace molto) and ending with a colorful, clever coda (Presto). Lily Afshar's guitar arrangement is very faithful to the original piano version and contains fingerings that are idiomatic and musical. The total performance length is sixteen minutes in duration in eight movements: 1. Vivace molto and Melodico 2. Tempo de Vals noble 3. Tempo de Vals lento 4. Allegro humoristico 5. Allegretto (elegante) 6. Quasi ad libitum (sentimental) 7. Vivo 8. Presto.
$9.99
9.17 €
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Lily Afshar
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Valses Poeticos by Enrique Granados
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
[Sacco] Book of Whimsy
Piano seul
Piano Solo - Digital Download SKU: A0.952627 Composed by Steven Sacco. Contemporary…
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Piano Solo - Digital Download SKU: A0.952627 Composed by Steven Sacco. Contemporary. Score. 48 pages. American Composers Alliance Inc. #4611267. Published by American Composers Alliance Inc. (A0.952627). A series of dedications to pianists whose influence upon Sacco was formative, organized in three folios of six pieces each. The first folio comprises the briefest pieces --- the original six; in the second folio the pieces become longer and more intricate, and, in the third folio, they extend into even longer pieces with a greater depth of form. Folio IAndante rubato: C major.....for William KomaikoAllegro furioso: A minor.....for William KomaikoAllegretto poco piu: G major.....for Nathan BucknerAllegro poco schmalzando: D major.....for Nathan BucknerAndante con moto: F# minor.....for William KomaikoAndante poco agitato: F major.....for Nathan BucknerFolio IILento rubato: Db major.....In memoriam Oscar PetersonPrestissimo brillante: B major.....for Olli MustonenModerato con moto: Eb major.....In memoriam Bill EvansVivace: D minor.....for Chick CoreaGrave: B minor.....In memoriam Beveridge WebsterAllegro con fuoco: Bb Major.....In memoriam Rebecca La BrecqueFolio IIIModerato quasi pizzicato: Ab minor.....In memoriam Bud PowellAllegro con brio: Ab major.....for Andras SchiffAdagio: Gb major.....for Amad JamalPresto: E minor.....for Mike NockMaestoso: E Major.....for Andrew ThomasAndante rubato: C Major.....for Alexandra Eames
$14.95
13.73 €
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Piano seul
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Steven Sacco
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[Sacco] Book of Whimsy
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American Composers Alliance Inc.
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SheetMusicPlus
SQ17 ... Hommage à Villa-Lobos (2022) - full score - Score Only
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.1156755 Composed…
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String Quartet String Quartet - Level 4 - Digital Download SKU: A0.1156755 Composed by Thomas Oboe Lee. 20th Century,Chamber,Classical,Contemporary,Romantic Period. 39 pages. Thomas Oboe Lee #757086. Published by Thomas Oboe Lee (A0.1156755). I have been a fan of the music by Heitor Villa-Lobos since my teenage years in São Paulo, Brazil, 1959-66. It was there when I first first heard his Bachianas Brasileiras No. 5, with soprano solo and eight cellos. The memory of that music will forever haunt me. I then recently discovered through a CD box set recorded by the Cuarteto Latinoamericano that Villa-Lobos wrote 17 string quartets. I guess he wanted to beat the number of string quartets that Beethoven wrote which is 16. So this being my 17th string quartet I wanted to pay homage to Villa-Lobos and dedicate this work to him, in memoriam. I took his first string quartet as a model, in terms of the titles he gave to the movements of that work. I. Cantilena … Andante II. Brincadeira … Allegretto scherzando III. Canto lÃrico … Moderato IV. Cançoneta … Andantino quasi allegretto V. Saltando como um Saci … Presto VI. Melancolia … Lento, Andante NB: the titles of the movements for the rest of his string quartets (nos. 2 to 17) have the same standard classical four-movement designations of fast/allegro, slow/adagio, scherzo and fast/allegro. credits.
$9.99
9.17 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Thomas Oboe Lee
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SQ17 ... Hommage à Villa-Lobos
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Thomas Oboe Lee
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SheetMusicPlus
Cesar Franck: Quasi Lento, from: C. Franck, L’organiste (7 Pièces) - guitar solo
Guitare
Instantly printable sheet music by Cesar Franck for guitar solo of EASY/MEDIUM skill level…
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Instantly printable sheet music by Cesar Franck for guitar solo of EASY/MEDIUM skill level. Contents: Asturias, 55 Classical Masterpieces from 5 Centuries / classical,french
$5.99
5.5 €
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Guitare
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Cesar Franck
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Virtualsheetmusic
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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