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Quatuor à cordes: 2 violons, alto, violoncelle
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String Quartet No.3 in F sharp
Partitions à imprimer
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String Quartet No.3 in F sharp
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.8…
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.863752 Composed by Jordan Grigg. 20th Century,Concert,Standards. Score and parts. 89 pages. Jordan Grigg #3390851. Published by Jordan Grigg (A0.863752).
$23.95
21.47 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Jordan Grigg
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String Quartet No.3 in F sharp
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Jordan Grigg
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SheetMusicPlus
Onslow - String Quartet No.19 in F sharp minor, Op.46 No.1
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.1145066…
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String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.1145066 Composed by George Onslow. Arranged by J.G. Cucó Barber. Chamber,Classical,Romantic Period. 73 pages. J.G. Cuco Barber #745383. Published by J.G. Cuco Barber (A0.1145066). Work Title String Quartet No.19 Composer Onslow, George Opus/Catalogue Number Op.46 No.1 Key F-sharp minor Movements/Sections 4 movements First Publication 1834 ca., compare his 3 String Quartets, Op.46 Composer Time Period Romantic Piece Style Romantic Instrumentation 2 violins, viola, cello.
$23.00
20.62 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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George Onslow
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J
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Onslow - String Quartet No.19 in F sharp minor, Op.46 No.1
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J.G. Cuco Barber
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SheetMusicPlus
BACH: Prelude & Fugue No. 14 in F-sharp Minor, BWV 883 for String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.552032 Composed …
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.552032 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Instructional,Standards. 32 pages. Jmsgu3 #6086781. Published by jmsgu3 (A0.552032). Score: 19 pages, Duration: ca. 7:00.
$24.95
22.37 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Johann Sebastian Bach
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James M
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BACH: Prelude & Fugue No. 14 in F-sharp Minor, BWV 883 for String Quartet
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jmsgu3
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SheetMusicPlus
BACH: Prelude & Fugue No. 13 in F-sharp Major, BWV 882 for String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.552031 Composed …
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.552031 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Instructional,Standards. 34 pages. Jmsgu3 #6084025. Published by jmsgu3 (A0.552031). Score: 18 pages. Duration: ca. 5:35.
$24.95
22.37 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Johann Sebastian Bach
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James M
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BACH: Prelude & Fugue No. 13 in F-sharp Major, BWV 882 for String Quartet
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jmsgu3
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SheetMusicPlus
Chopin - Prelude in F sharp major for String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.748689 Composed …
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.748689 Composed by Frederic Chopin. Arranged by Mark Reeves. Contemporary,Romantic Period,Wedding. Score and parts. 9 pages. Mark Reeves #3684517. Published by Mark Reeves (A0.748689). Chopin - Prelude in F sharp major Op 28 No 13 for String Quartet
$9.99
8.96 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Frederic Chopin
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Mark Reeves
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Chopin - Prelude in F sharp major for String Quartet
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Mark Reeves
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SheetMusicPlus
Haydn - String Quartet in F sharp minor, Hob.III:47 ; Op.50 No.4 · "Prussian Quartet No.4"
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Digital Download SKU: A0.1091473 Composed by Franz …
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String Quartet String Quartet - Digital Download SKU: A0.1091473 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 38 pages. J.G. Cuco Barber #695655. Published by J.G. Cuco Barber (A0.1091473). Work Title String Quartet in F-sharp minor Alternative Title String Quartet No.47 ; Prussian Quartet No.4 Composer Haydn, Joseph Opus/Catalogue Number Hob.III:47 ; Op.50 No.4 Key F-sharp minor Movements/Sections 4 movements 1. Allegro spiritoso (F-sharp minor) 2. Andante (A major) 3. Minuet (F-sharp major) - Trio (F-sharp minor) 4. Fuga. Allegro moderato (F-sharp minor) Year/Date of Composition 1787 First Publication 1787 in String Quartets, Op.50 (No.4) Dedication Friedrich Wilhelm II, King of Prussia Composer Time Period Classical Piece Style Classical Instrumentation 2 violins, viola, cello.
$23.00
20.62 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Franz Joseph Haydn
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J
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Prussian Quartet No
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Haydn - String Quartet in F sharp minor, Hob.III:47 ; Op.50 No.4 · "Prussian Quartet No.4"
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J.G. Cuco Barber
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SheetMusicPlus
Cure For Me
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1116496 Composed by Aurora Aksnes and Magnus Skylstad. Arranged by Jose Welligton Sousa de Castro. Disco,Pop,Singer/Songwriter,Wedding. 14 pages. Jose Welligton Sousa de Castro #718146. Published by Jose Welligton Sousa de Castro (A0.1116496). Looking to add a trendy and exciting song to your string quartet's repertoire? Look no further than our exclusive arrangement of Cure For Me by Aurora Aksnes, popularized on TikTok and loved by fans worldwide. Arrangement by Welligton Sousa is written for Violin I, II, Viola [with an optional Violin III part], and Cello, and features all the essential parts needed to perform this infectious and lively tune. The arrangement is written in the original key of F sharp minor and stays true to the energetic and upbeat character of the original song. Whether you're a seasoned string quartet player or just starting out, this arrangement is perfect for any level of expertise. Don't miss out on the chance to add this hit song to your quartet's repertoire and impress your audience with the catchy melodies and infectious rhythms of Cure For Me. Order your sheet music today and get ready to play this TikTok sensation like a pro.
$12.99
11.65 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Aurora Aksnes and Magnus Skylstad
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Cure For Me
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Jose Welligton Sousa de Castro
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SheetMusicPlus
Oscillation
Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.…
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Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1–3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartets’ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4–7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1–3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4–7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the work’s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10–13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second section’s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33–84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40–41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85–113 and is followed by a coda at mm.114–131.
$19.95
17.88 €
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contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key
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Jeremy Hart
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Oscillation
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Jeremy Graham Hart
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SheetMusicPlus
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