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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
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Theme and Variation for Solo Cello
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--INSTRUMENTS--
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ALTO
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Vous avez sélectionné:
Theme and Variation for Solo Cello
SheetMusicPlus
Partitions à imprimer
50 partitions trouvées
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26
Theme and Variation for Solo Cello
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Violoncelle
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Classique
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Sean Kim
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Theme and Variation for Solo C
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Sean Kim
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SheetMusicPlus
Cello Solo - SKU: A0.1158132 Composed by Sean Kim. Classical,Romantic Period. Individual part. 4 pages. Sean Kim #758434. Published by Sean Kim (A0.1158...
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Cello Solo - SKU: A0.1158132 Composed by Sean Kim. Classical,Romantic Period. Individual part. 4 pages. Sean Kim #758434. Published by Sean Kim (A0.1158132).
$19.99
Almost May Score and Parts
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Heidi Savoie
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Heidi Savoie
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Almost May Score and Parts
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Heidi Savoie
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SheetMusicPlus
String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoi...
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String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Jazz,Pop,Singer/Songwriter. 15 pages. Heidi Savoie #960865. Published by Heidi Savoie (A0.1376321). This score is an arrangement for piano, violin I and II, viola, cello, bass with optional drums.Backstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$24.99
An Elegy for Hopes and Dreams
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Piano Trio: piano, violon, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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William Heath
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An Elegy for Hopes and Dreams
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William Heath
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SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 4 - SKU: A0.1142148 Composed by William Heath. Classical,Contemporary,Film/TV,Thriller. 19 pages. William Heath #7...
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Piano Trio Cello,Piano,Violin - Level 4 - SKU: A0.1142148 Composed by William Heath. Classical,Contemporary,Film/TV,Thriller. 19 pages. William Heath #742526. Published by William Heath (A0.1142148). A Piano Trio, written for the Leeds University Union Music Society Winter Concert Series. Performed by the Hughes Trio featuring Christopher Hughes (Piano), Amy Howe (Violin), and Nikki Kemp (Cello) Programme Notes: This is a rather melodramatic piece that follows the Five Stages of Grief. I first sketched the piece for string quartet after an absolutely horrific interview at the Royal Northern College of Music. Feeling disheartened and dejected, I got home and messily scribbled on some manuscript paper An Elegy for Hopes and Dreams, and started writing this extremely over-dramatic and self-indulgent piece. I had abandoned this piece for an entire year before reviving it and writing the whole piece in just over a week and a half, now reimagined for Piano Trio. The piece starts with an atonal representation of grief before quickly moving into an upbeat Denial section which features a sort of fragile and manic sense of repression as a theme that initially sounds upbeat quickly unravels with whole-tone scales and chromatic movement. A representation of Anger is then seen with the whole trio playing the same melody with a jarring Bb in the harmony. The denial and anger sections repeat and regress before abruptly moving to a Bargaining section in which the original theme, ominously played in the lower piano and cello registers, is juxtaposed with a conjunct, major variation of the same theme in the violin. The Depression section takes the form of a cello solo as I find it to be one of the most emotive and expressive instruments and I take inspiration from Elgar's Cello Concerto, which I angstily listened to on the flight home from my aforementioned interview. A lilting and lamenting cello solo is contrasted with an atonal, aimless piano accompaniment which reflects the topic of depression. The bargaining theme reprises slightly with both strings performing the major variation before leading to the final climax. The Acceptance section sees the principal theme finally fully resolved in a major mode and with diatonic harmony. This is an expressive section as the whole trio plays the same melody with very simple yet emotive harmonic accompaniment underneath. Here the depression theme pairs with the principal theme coming to a final resolution. For individual parts for performance please contact owhcomposer@gmail.com.
$27.99
Bach's Minuet In G (bass C instrument solo)
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Tuba et Piano
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FACILE
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Classique
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Johann Sebastian Bach
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Sandra Zylstra
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Bach's Minuet In G
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sandra dee zylstra
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SheetMusicPlus
Small Ensemble Bass Clef Instrument,Cello,Euphonium,Instrumental Solo,Piano,Tuba - Level 2 - SKU: A0.711960 Composed by Johann Sebastian Bach. Arranged ...
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Small Ensemble Bass Clef Instrument,Cello,Euphonium,Instrumental Solo,Piano,Tuba - Level 2 - SKU: A0.711960 Composed by Johann Sebastian Bach. Arranged by Sandra Zylstra. Baroque,Children,Contest,Festival,Standards. Score and individual part. 7 pages. Sandra dee zylstra #36253. Published by sandra dee zylstra (A0.711960). This famous Bach piece has been transformed into a theme and variation of the traditional Minuet in G as an early intermediate bass C instrument solo with piano accompaniment and separate instrument part. (Approximately 2 minutes, 6 pages) You can look at other arrangements by Sandra Zylstra on Sheet Music Plus: http://www.sheetmusicplus.com/formats/singles/sandra-zylstra/600092+3001855 and at Piano Pronto: Composers Community https://pianopronto.com/composers-community/sandra-zylstra/ .
$3.75
Mozart: Sonata K. 284 “Durnitz” for String Trio
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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W
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James M
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Mozart: Sonata K. 284 “D
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jmsgu3
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SheetMusicPlus
String Trio Cello,Viola,Violin - Level 4 - SKU: A0.1201012 Composed by W. A. Mozart (1756 – 1791). Arranged by James M. Guthrie, ASCAP. Chamber,C...
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String Trio Cello,Viola,Violin - Level 4 - SKU: A0.1201012 Composed by W. A. Mozart (1756 – 1791). Arranged by James M. Guthrie, ASCAP. Chamber,Classical,Contest,Festival,Standards,Wedding. 70 pages. Jmsgu3 #798993. Published by jmsgu3 (A0.1201012). Sonata No. 6, “Durnitz†for String TrioScore and performance parts:  Score: 32 pages. Duration: ca. 28:54Mozart's Sonata in D major, K. 284, also known as the Durnitz Sonata, is a solo piano piece that was composed by Wolfgang Amadeus Mozart in 1775. It is one of Mozart's more complex and ambitious piano sonatas and is generally regarded as one of his greatest works for the instrument.The sonata is divided into three movements:1.   Allegro - The first movement is a fast-paced and energetic sonata-allegro form, characterized by its lively theme and virtuosic passages. The movement begins with a bold and dramatic opening statement, followed by a series of contrasting themes and variations. The development section explores new harmonic and rhythmic territory, while the recapitulation brings the movement full circle with a restatement of the main themes.2.   Rondeau en Polonaise - The second movement is a graceful and elegant rondo in the style of a polonaise, a popular dance of the time. The main theme is a lilting melody that is first presented by the right hand and then repeated with variations throughout the movement. The middle section features a contrasting theme in a minor key, which is then developed and expanded upon in the latter half of the movement.3.   Theme and Variations - The final movement is a set of six variations on a theme, which is introduced at the beginning of the movement. Each variation explores a different aspect of the theme, from playful embellishments to dramatic flourishes. The final variation brings the piece to a rousing and triumphant close.Overall, Mozart's Sonata in D major, K. 284, is a masterful example of the composer's virtuosity and innovation and remains a beloved and influential work in the piano repertoire. Mozart's Sonata in D major, K. 284 is also known as the Dürnitz Sonata because it is believed to have been composed for Count Johann Joseph Anton von Dürnitz, an accomplished amateur flautist who was a patron of Mozart.Mozart was in Munich in 1775, and he met Dürnitz there. According to Mozart's letters to his father, Dürnitz played the flute very well, and Mozart was impressed by his abilities. It is believed that Mozart composed this sonata specifically for Dürnitz, who may have performed it with Mozart accompanying him on the piano.There is no concrete evidence to support the theory that the sonata was named after Dürnitz, but it is widely accepted as the most likely explanation for the nickname. In any case, the sonata remains one of Mozart's most popular and beloved works for solo piano.
$42.95
Variations on Eliahu, a Passover Theme (for solo cello and orchestra)
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Gary Friedman
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Variations on Eliahu, a Passov
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Gary Friedman
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SheetMusicPlus
Large Ensemble Cello,Tuba - Level 4 - SKU: A0.889878 Composed by Gary Friedman. Contemporary,Jewish,Romantic Period. Score and parts. 66 pages. Gary Fri...
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Large Ensemble Cello,Tuba - Level 4 - SKU: A0.889878 Composed by Gary Friedman. Contemporary,Jewish,Romantic Period. Score and parts. 66 pages. Gary Friedman #11999. Published by Gary Friedman (A0.889878). The original version for cello and piano was my first formal composition when I started composing in 1998. When my brother, Ralph, heard it, he cried and said that he wished that my parents could have heard it, too. The form and harmonies of this piece are mostly traditional, but there are a few surprises. There is a cantorial cello cadenza. A trumpet and tuba are added to the usual chamber orchestra with piano, just to play an Oh My Darling Clementine counter-melody in one variation but flute and bassoon have cues and can do this nicely. The recording of the beautifully expressive performance by Ken Hoppe and the College of Marin Symphony conducted by Tara Flandreau (who edited the string parts) is of such poor sound quality that I have uploaded the computer playback as the sound clip, which is of course quite mechanical sounding. However, if you would like to hear the live performance the YouTube link is ?v=6RHrLVqTyZg The cello and piano duet version is included in this package but is also sold separately for $5.00. Duration: 8 minutes Year: 1998.
$40.00
Song of the Sea for Cello solo with piano accompaniment
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Violoncelle, Piano
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INTERMÉDIAIRE
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Janice e Malan
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Janice e Malan
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Song of the Sea for Cello solo
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Janice Malan
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.1362632 By Janice e Malan. By Janice e Malan. Arranged by Janice e Malan. Contest,Festival,Folk. Score and part. 5 pages...
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Cello,Piano - Level 3 - SKU: A0.1362632 By Janice e Malan. By Janice e Malan. Arranged by Janice e Malan. Contest,Festival,Folk. Score and part. 5 pages. Janice Malan #947059. Published by Janice Malan (A0.1362632). This original Sea Song introduces the intermediate string students to the Theme and Variation form. Piano accompaniment is included. This is a great piece for concert, contest, or recital. Enjoy!
$5.00
Mozart: Sonata K. 284 “Durnitz” for String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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W
#
James M
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Mozart: Sonata K. 284 “D
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jmsgu3
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1202033 Composed by W. A. Mozart (1756 – 1791). Arranged by James M. Guthrie...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1202033 Composed by W. A. Mozart (1756 – 1791). Arranged by James M. Guthrie, ASCAP. Chamber,Classical,Contest,Festival,Traditional,Wedding. 94 pages. Jmsgu3 #800635. Published by jmsgu3 (A0.1202033). Sonata No. 6, “Durnitz†for String Quartet Mozart's Sonata in D major, K. 284, also known as the Durnitz Sonata, is a solo piano piece by Wolfgang Amadeus Mozart in 1775. It is one of Mozart's more complex and ambitious sonatas and is generally regarded as one of his greatest works for the instrument.The sonata is divided into three movements:1.   Allegro - The first movement is a fast-paced and energetic sonata-allegro form characterized by its lively theme and virtuosic passages. The movement begins with a bold and dramatic opening statement, followed by contrasting themes and variations. The development section explores new harmonic and rhythmic territory, while the recapitulation brings the movement full circle with a restatement of the main themes.2.   Rondeau en Polonaise - The second movement is a graceful and elegant rondo in the style of a polonaise, a popular dance of the time. The central theme is a lilting melody first presented by the right hand and then repeated with variations throughout the movement. The middle section features a contrasting theme in a minor key, which is then developed and expanded upon in the latter half of the movement.3.   Theme and Variations - The final movement is a set of six variations on a theme, which is introduced at the beginning of the movement. Each variation explores a different aspect of the theme, from playful embellishments to dramatic flourishes. The final variation brings the piece to a rousing and triumphant close.Overall, Mozart's Sonata in D major, K. 284, is a masterful example of the composer's virtuosity and innovation and remains a beloved and influential work in the piano repertoire. Mozart's Sonata in D major, K. 284 is also known as the Dürnitz Sonata because it is believed to have been composed for Count Johann Joseph Anton von Dürnitz, an accomplished amateur flutist who was a patron of Mozart. Mozart was in Munich in 1775, and he met Dürnitz there. According to Mozart's letters to his father, Dürnitz played the flute very well, and Mozart was impressed by his abilities. It is believed that Mozart composed this sonata specifically for Dürnitz, who may have performed it with Mozart accompanying him on the piano. No concrete evidence supports the theory that the sonata was named after Dürnitz, but it is widely accepted as the most likely explanation for the nickname. In any case, the sonata remains one of Mozart's most popular and beloved works.
$44.95
Twinkle, Twinkle Little Star (bass C instrument solo)
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Tuba et Piano
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INTERMÉDIAIRE
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Traditional
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Sandra Zylstra
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Twinkle, Twinkle Little Star
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sandra dee zylstra
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SheetMusicPlus
Small Ensemble Baritone Horn TC/Euphonium,Bass Clef Instrument,Cello,Instrumental Solo,Piano,Tuba - Level 3 - SKU: A0.711965 Composed by Traditional. Ar...
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Small Ensemble Baritone Horn TC/Euphonium,Bass Clef Instrument,Cello,Instrumental Solo,Piano,Tuba - Level 3 - SKU: A0.711965 Composed by Traditional. Arranged by Sandra Zylstra. Children,Contest,Festival,Folk,Instructional. Score and individual part. 8 pages. Sandra dee zylstra #38123. Published by sandra dee zylstra (A0.711965). A fun way to play a theme and variation of a traditional classic! Twinkle, Twinkle Little Star is arranged as an intermediate bass C instrument solo with piano accompaniment and a separate instrument part. (Approximately 4 minutes, 7 pages) You can look at other arrangements by Sandra Zylstra on Sheet Music Plus: http://www.sheetmusicplus.com/formats/singles/sandra-zylstra/600092+3001855 and at Piano Pronto: Composers Community https://pianopronto.com/composers-community/sandra-zylstra/
$4.25
"Nocturne" for flute, clarinet, cello and piano
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Flûte traversière et Piano
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AVANCÉ
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Panagiotis Theodossiou
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"Nocturne" for flute
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Panagiotis Theodossiou
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SheetMusicPlus
Small Ensemble Cello,Clarinet,Flute,Piano - Level 5 - SKU: A0.886700 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and parts...
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Small Ensemble Cello,Clarinet,Flute,Piano - Level 5 - SKU: A0.886700 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and parts. 36 pages. Panagiotis Theodossiou #3578805. Published by Panagiotis Theodossiou (A0.886700). Nocturne, for flute, oboe (or clarinet), cello and piano (2003). An extended dodecaphonic work in the form of theme and variations. Its mystic mood (like a all night long ritual) follows the strict composing process. It is divided in seven parts: Theme, Var. I – V, and Epilogue. The 5th Variation is a greek dance (Danza alla Greca).Because of the demanding and soloistic part of the cello, the work could be a concertino for this instrument. The performance took place at the Hellenic American Union Theatre by the Hellenic Ensemble for Contemporary Music under Iakovos Konitopoulos.
$20.00
I Love You Truly-cello/piano
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Violoncelle, Piano
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FACILE
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Phil Beaman
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I Love You Truly-cello/piano
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Phil Beaman
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SheetMusicPlus
Cello,Piano - Level 2 - SKU: A0.844623 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beaman #4413031....
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Cello,Piano - Level 2 - SKU: A0.844623 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beaman #4413031. Published by Phil Beaman (A0.844623). Vintage pop romance! This accompanied instrumental solo is a Theme and Variations. For the Theme I used an extract from the 1906 hit pop song I Love You Truly by Carrie Jacobs-Bond, a celebrated female composer at the turn of century. With each variation the melody and rhythm evolve further from the original Theme. The tempo also increases slightly as you progress to each new variation. The first variation adds chromatic embellishment, the second variation syncopates the rhythm, and the third variation uses triplet patterns. More life is added to your romance with each variation!Each person who has heard this piece hears something different, but in all of them it conjures up vintage courting; and most say it would fit a soundtrack to an early silent movie. So, at heart, this piece is still a turn of the century love ballad, but livened up and fused with subtle influences from other styles and periods. Perfect for weddings where you are trying to please everyone; a bit pop, a bit classical, and totally romantic!Works equally well in a classroom or lesson studying Theme and Variations. The easy-going melody only has a range of just over an octave. Its beauty and technique suits it for any recital as well.6 minutes with repeats, 3 minutes without; 6 page score; 3 page solo partRecording is of the Cello/Piano version and doesn't take the repeats.
$5.99
A Cellist's Christmas: A Collection of 18 Traditional and Popular Tunes
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Violoncelle
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FACILE
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Noël
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Traditional, Various Artists
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Clara Obsidian
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A Cellist's Christmas: A Colle
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Clara Obsidian
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SheetMusicPlus
Cello Solo - Level 2 - SKU: A0.871402 Composed by Traditional, Various Artists. Arranged by Clara Obsidian. Christmas,Instructional. Individual part. 21...
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Cello Solo - Level 2 - SKU: A0.871402 Composed by Traditional, Various Artists. Arranged by Clara Obsidian. Christmas,Instructional. Individual part. 21 pages. Clara Obsidian #6092557. Published by Clara Obsidian (A0.871402). A collection of the most popular holiday tunes arranged for SOLO CELLO. While mostly arranged for beginner levels, some pieces include variations or alternate keys for Intermediate Cellists looking for a little fun and difficulty.This is the perfect book this Christmas season for gigs, performances, or just to immerse in the festivity!-------------ContentsJingle Bells (In 2 keys)Jingle Bell RockWhite ChristmasDing Dong! Merrily on HighHark! The Herald Angels Sing (Theme and Descant Part)What Child is This? (Theme and Variations)O Holy NightFeliz Navidad (In 2 octaves)Silent Night (In 2 keys)Rudolph the Red-Nosed ReindeerOh Come, Oh Come, Emmanuel (Theme and Variation in the Style of The Piano Guys)Dance of the Sugar Plum FairyWe Wish You a Merry ChristmasIt’s the Most Wonderful Time of the YearJoy to the World (Theme and Variations)O Come, All Ye FaithfulDeck the HallsIt’s Beginning to Look a Lot Like Christmas-------------------------------Individual pieces also available for separate purchases (Coming Soon!)
$10.99
Cello - "And Can It Be?" Theme and Variations
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Violoncelle, Piano
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INTERMÉDIAIRE
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Musique Sacrée
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Gospel Spirituel
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Lyrics: Charles Wesley, Music:
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Dan Cutchen
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Cello - "And Can It Be?&q
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Dan Cutchen Music
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan C...
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Cello,Piano - Level 3 - SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4281895. Published by Dan Cutchen Music (A0.844351). This arrangement of And Can It Be That I Should Gain? is for cello solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Cello - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/xCpG9mpfSFk
$6.00
Aria from Concerto Grosso, Op.6-12 HWV330 for Three Violoncellos
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Violoncelle
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INTERMÉDIAIRE
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Classique
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George Frideric Handel
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Kamada
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Aria from Concerto Grosso, Op.
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ACORDO Sheet Music
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SheetMusicPlus
Cello Solo - Level 3 - SKU: A0.777997 Composed by George Frideric Handel. Arranged by Kamada. Mikio. Baroque. Individual part. 5 pages. ACORDO Sheet Mus...
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Cello Solo - Level 3 - SKU: A0.777997 Composed by George Frideric Handel. Arranged by Kamada. Mikio. Baroque. Individual part. 5 pages. ACORDO Sheet Music #4764887. Published by ACORDO Sheet Music (A0.777997). Handel's Concerto Grosso in B minor, Op.6-12 is for solo parts (2 Violins and Violoncello) and string orchestra. The movement III, Aria, is played in tutti of three voices without solos. It consists of a pastoral and beautiful theme and a vibrant variation. It is very enjoyable to play.
$6.20
"Spring of Home Country" for Viola and Strings.
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Nan-Pa Hong
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Han-Ki Kim
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"Spring of Home Country&q
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Han-Ki Kim
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SheetMusicPlus
String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - SKU: A0.1263445 Composed by Nan-Pa Hong. Arranged by Han-Ki Kim. Chamber,Instructional,Romant...
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String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - SKU: A0.1263445 Composed by Nan-Pa Hong. Arranged by Han-Ki Kim. Chamber,Instructional,Romantic Period,Standards,Traditional. 33 pages. Han-Ki Kim #856407. Published by Han-Ki Kim (A0.1263445). For Solo Viola and String Orchestra. Spring of Home Country Op.159 Viola Concerto “Spring in Hometown†can be said to be a variational concerto in a word. It is a concerto composed with the theme of the melody of Nan-pa Hong, who played an important role in spreading Western music in Korea. Children’s song “Spring in Hometown†was composed in 1929 and is a familiar melody to all Koreans, young and old. The content of the poem is about the beautiful and nostalgic nostalgia of the village where he lived as a child. Following the lively ensemble in 4/4 time, a solo viola that seems to read a poem plays the theme, followed by the first variation composed of a splendid broken chord. Variations 2 and 3 are played by soloists and ensembles, crossing the traditional Korean rhythms “Jajinmori†and “Kutkoriâ€. In Variation 4, the slowly expanded theme is played by the ensemble with a consoldino (played using a muted instrument), and the solo viola adorns the theme of the ensemble with up and down notes. Then, the solo viola’s cadenza, the final variation of a majestic personality, and a short coda decorate the end. Attached YouTube Link is played by Violin and Strings, it's just for a reference.
$24.90
"Spring of Home Country" for Violin and Strings.
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Nan-Pa Hong
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Han-Ki Kim
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"Spring of Home Country&q
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Han-Ki Kim
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SheetMusicPlus
String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - SKU: A0.1262910 Composed by Nan-Pa Hong. Arranged by Han-Ki Kim. Chamber,Classical,Instructio...
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String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - SKU: A0.1262910 Composed by Nan-Pa Hong. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Romantic Period,Standards. 33 pages. Han-Ki Kim #855907. Published by Han-Ki Kim (A0.1262910). For Solo Violin and String Orchestra. Spring of Home Country Op.159 Violin Concerto “Spring in Home Country†can be said to be a variational concerto in a word. It is a concerto composed with the theme of the melody of Nan-pa Hong, who played an important role in spreading Western music in Korea. Children’s song “Spring in Hometown†was composed in 1929 and is a familiar melody to all Koreans, young and old. The content of the poem is about the beautiful and nostalgic nostalgia of the village where he lived as a child. Following the lively ensemble in 4/4 time, a solo violin that seems to read a poem plays the theme, followed by the first variation composed of a splendid broken chord. Variations 2 and 3 are played by soloists and ensembles, crossing the traditional Korean rhythms “Jajinmori†and “Kutkoriâ€. In Variation 4, the slowly expanded theme is played by the ensemble with a consoldino (played using a muted instrument), and the solo violin adorns the theme of the ensemble with up and down notes. Then, the solo violin’s cadenza, the final variation of a majestic personality, and a short coda decorate the end.
$24.90
Concerto in Bb Major for Double Bass and Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Robert E
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Concerto in Bb Major for Doubl
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R. E. Proctor
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102...
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Full Orchestra - Level 4 - SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102129. Published by R. E. Proctor (A0.809714). A concerto for Double Bass and orchestra in the traditional fast - slow – fast concerto format. While not overly challenging for the bass soloist, it does explore, to a degree, the upper reaches of the instrument as well as sounding the beautiful low range. The first movement is that might be called Neo – Classical, opening with an 8-measure solo in a Largo or slow tempo. The tempo then changes to Allegro (fast) for the balance of the movement. The movement ends as it began with the double bass playing alone. The second movement is a jazz waltz. In 9/8, it opens with the soloist playing pizzicato against a rhythmic cord progression. The bass and cello sections pick this up to provide a ground upon which the balance of the movement is played over. The second movement is in the relative minor of Bb which is G minor. A haunting melody is introduced by the bass and doubled by the strings. This melody is replayed by various instruments as the Bass Soloist plays variations on this theme. The harp and the bass solo end the movement. The third movement leans toward French Impressionism. This movement is Andantino; however, it is a spirited. Written in cut time, where the half note equals 92 beats per minute. The melody is introduced by the woodwinds with the harp accompanying. The strings and brass join in as the woodwinds repeat the melody. Finally, the bass solo takes charge of the melody using it as a theme and variation. The harp is used extensively in this concerto providing harmonic, melodic, and rhythmic support for the bass. Written in 2015, the concerto is a new work, however, it is not experimental music. It uses the standard orchestral instruments playing in the standard fashion. It is replete with modern harmonic sounds and chord progressions. As concerto's go, this one is not overly difficult providing the bassist with a starting point as a soloist. It does require the soloist to have some mastery over the instrument as the music traverses most of the instrument’s range. Performance time is approximately 13 minutes and 10 seconds.
$19.95
Aria from Concerto Grosso, Op.6-12 HWV330 for Two Violins & Violoncello
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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George Frideric Handel
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Kamada, Mikio
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Aria from Concerto Grosso, Op.
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ACORDO Sheet Music
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SheetMusicPlus
String Quartet Cello,String Quartet,Violin - Level 3 - SKU: A0.777994 Composed by George Frideric Handel. Arranged by Kamada, Mikio. Baroque. Score and ...
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String Quartet Cello,String Quartet,Violin - Level 3 - SKU: A0.777994 Composed by George Frideric Handel. Arranged by Kamada, Mikio. Baroque. Score and parts. 5 pages. ACORDO Sheet Music #4764881. Published by ACORDO Sheet Music (A0.777994). Handel's Concerto Grosso in B minor, Op.6-12 is for solo parts (2 Violins and Violoncello) and string orchestra. The movement III, Aria, is played in tutti of three voices without solos. It consists of a pastoral and beautiful theme and a vibrant variation. It is very enjoyable to play.
$6.20
Aria from Concerto Grosso, Op.6-12 HWV330 for Two Violins & Viola
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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George Frideric Handel
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Kamada, Mikio
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Aria from Concerto Grosso, Op.
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ACORDO Sheet Music
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SheetMusicPlus
String Quartet String Quartet,Viola,Violin - Level 3 - SKU: A0.777995 Composed by George Frideric Handel. Arranged by Kamada, Mikio. Baroque. Score and ...
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String Quartet String Quartet,Viola,Violin - Level 3 - SKU: A0.777995 Composed by George Frideric Handel. Arranged by Kamada, Mikio. Baroque. Score and parts. 5 pages. ACORDO Sheet Music #4764883. Published by ACORDO Sheet Music (A0.777995). Handel's Concerto Grosso in B minor, Op.6-12 is for solo parts (2 Violins and Violoncello) and string orchestra. The movement III, Aria, is played in tutti of three voices without solos. It consists of a pastoral and beautiful theme and a vibrant variation. It is very enjoyable to play.
$6.20
Andantino
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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Hummel, Johann Nepomuk
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Nick Lacanski
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Andantino
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theupperstaff
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.645970 Composed by Hummel, Johann Nepomuk. Arranged by Nick Lacanski. Classical. Score and parts. 9 pa...
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String Quartet String Quartet - Level 3 - SKU: A0.645970 Composed by Hummel, Johann Nepomuk. Arranged by Nick Lacanski. Classical. Score and parts. 9 pages. Theupperstaff #2004255. Published by theupperstaff (A0.645970). From the pen of J.N. Hummel, comes this arrangement for string quartet of a composition for solo piano. The first violin dominates this arrangement that includes a quasi theme and variation feel to it.
$4.95
Rhapsody on a Theme of Paganni Eighteenth Variation - Cello and Piano
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Violoncelle, Piano
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AVANCÉ
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Contemporain
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Goutier Capucon
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Marcus Martin
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Rhapsody on a Theme of Paganni
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Cornelius Edition
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SheetMusicPlus
Cello,Piano - Level 5 - SKU: A0.1194112 By Goutier Capucon. By RACHMANINOV. Arranged by Marcus Martin. 20th Century,Classical. Score and part. 5 pages. ...
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Cello,Piano - Level 5 - SKU: A0.1194112 By Goutier Capucon. By RACHMANINOV. Arranged by Marcus Martin. 20th Century,Classical. Score and part. 5 pages. Cornelius Edition (uk) #793547. Published by Cornelius Edition (uk) (A0.1194112). Composed in 1934,  This slow 18th variation from the set of 24 is by far the best known, and it is often included on classical music compilations without the rest of the work. The original key of Db is retained with a solo cello line and piano accompaniment. It featured extensively in the 1953 MGM film  The story of 3 Loves. Ideal for short recitial items or as an encore.
$6.99
Ten Green Bottles and Variations for Cello and Piano
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Violoncelle, Piano
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DÉBUTANT
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Traditional
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Tim Curd
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Ten Green Bottles and Variatio
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Tim Curd
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SheetMusicPlus
Cello,Piano - Level 1 - SKU: A0.717141 Composed by Traditional. Arranged by Tim Curd. Children,Folk. Score and part. 4 pages. Tim Curd #5806717. Publish...
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Cello,Piano - Level 1 - SKU: A0.717141 Composed by Traditional. Arranged by Tim Curd. Children,Folk. Score and part. 4 pages. Tim Curd #5806717. Published by Tim Curd (A0.717141). Ten Green Bottles and Variations for Cello and Piano.This popular children's song has been arranged with its theme followed by a simply decorated variation.Piano and solo part included.A piano accompaniment/backing track is available here:https://www.sheetmusicplus.com/title/ten-green-bottles-and-variation-for-cello-and-piano-piano-accom...
$3.99
Arirang (For Violin, Cello and S.Orchestra)
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Han-Ki Kim
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Han-Ki Kim
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Arirang
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Han-Ki Kim
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SheetMusicPlus
String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - SKU: A0.1200264 By Han-Ki Kim. By Traditional. Arranged by Han-Ki Kim. Chamber,Classical,Inst...
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String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - SKU: A0.1200264 By Han-Ki Kim. By Traditional. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Standards,Traditional. 26 pages. Han-Ki Kim #799067. Published by Han-Ki Kim (A0.1200264). Arirang for Violin, Cello and String Orchestra “Arirang†is a representative folk song of Korea and a famous song widely known around the world. This concerto was composed to give value as an artistic literature to such a familiar theme. In this concerto “Arirangâ€, I want both the performers and the audience to feel “musical sympathyâ€.Following the short and fast introduction in 3/4 time, it is connected in the form of 5 variations in 6/8 time. Each variation expresses a different musical atmosphere, performance speed, or change in composition. In general, the main melody is mainly played by the first violin, but as far as the main melody is concerned, in this music, high-pitched instruments and low-pitched instruments intersect and cycle in equal positions, not in a melodicline relationship. After the fourth variation, a virtuosic solo of the movement alone is connected, and after the finale with a broad and majestic atmosphere, it ends with a short and lively coda with the same character as the beginning. Attached file is played by S.Orchestra just for a reference.
$15.90
Carson Cooman: Flute Concerto (2006) for flute and orchestra, score and solo part
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Orchestre
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AVANCÉ
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Carson Cooman
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Carson Cooman: Flute Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.533762 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 55 pages. Musik Fabrik Music Publishing #3...
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Full Orchestra - Level 5 - SKU: A0.533762 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 55 pages. Musik Fabrik Music Publishing #3043953. Published by Musik Fabrik Music Publishing (A0.533762). Flute Concerto (2006) was commissioned by flutist Judith von Hopf and theKiev Philharmonic and premiered by them under the direction of GuidoLamell. The work is in two movements: Chanson and Fantasy Variations.The first movement, Chanson, is an extended “song†that develops through avariety of textures. The opening song material is centered around G#. In turn,this G# is revealed to be a quasi-dominant of a D centered sonority. (A briefcoda returns to G#, in preparation for the D center of the second movement.)The second movement, Fantasy Variations, is cast as two presentations ofthe theme surrounding five free variations, plus a coda. The theme serves asthe basis of the musical material for each variation as well as the structuraltemplate for each. Also, each variation contains material referring backspecifically to the previous variation.The opening theme is declamatory and massive. The first variation is fastand limber. The second variation is introspective and stratified. The thirdvariation is fleeting. The fourth variation is distant and spare. The fifthvariation is fast and driving. The final theme begins whispered and slowlyregains its declamatory nature before a brief and intense coda ends the workin a blaze.This item is the score and the solo part only. The orchestral parts are on rental from the publisher. The piano reduction is for sale as a seperate item.Instrumentation2 Flutes (2nd dbl. Picc.)2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 Bassoons4 Horns in F/Bb2 Trumpets in C2 TrombonesTubaPercussion (2 players)I: tubular bells, crotales, bass drum, whip/slapstickII: vibraphone (motor off), snare drum(Percussion I needs one rosined bow.Percussion II needs one rosined bow.)PianoSolo Flute(If necessary, discreet amplification of the soloist is acceptable.)Violin IViolin IIViolaCelloContrabass(at least two players [ideally more] must have machine extension to low C)
$25.95
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Theme and Variation for Solo Cello
