Par HUWS JONES EDWARD. These nine jazzy pieces have been specially written to help students work through technical difficulties with position changes in a fun and exciting way. Not only are they an excellent way to learn, there perfect for end of term concerts too. / Methods & Tutors / Etude / Alto et Piano

arranged for Piano and Viola-Cesar Franck’s Sonata for Piano and Violin is one of the most treasured works in the Violin repertoire a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.After Franck’s death in 1890 the original publisher of the Sonata the Parisian house Julien Hamelle announced an arrangement of the work for Viola but it has not been possible to locate any copy of this publication. The present arrangement for Viola is largely based on Jules Delsart’s arrangement for Piano and Cello the onlyversion of the Sonata which the composer authorized. However the Viola part here also adopts extensive passages in their original register or remains in the middle octave especially in those passages where the Cello lies two octaves beneath the Violin.Being set in the alto register the part thus lies between the other two string versions lending the Sonata a delightful hybrid hue beyond the brilliance of the Violin and the sonorousness of the Cello. The Piano part has been left intact and is thus identical to that of the original version.The edition is rounded off by an informative text on the genesis and reception history of the Sonata (Ger/Fr/Eng).

For Viola and Piano this is the composer's first opused work. Premiered at the Wigmore Hall in July 1959 by Cecil Aronowitz and Margaret Kitchen.Wood: In 1957 I knew I had newly discovered the music of Schoenberg and hispupils and I knew at once that they were to show me the way forward for my music; as indeed they have ever since. The revelation was primarily an emotional experience for me and however imperfectly their influence wasreceived it was obviously reflected in the all-out chromaticism (new for me then) in the many chains of twelve notes or lesser chromatic formations (which do not here amount to serial working and have only rarely done sosince) in the characteristic harmonic and rhythmic formations the wide and sometimes angular intervals of the melodies and in general the introverted romanticism. Anyway I knew then that this was the sort of music that Ihenceforth would want to write and so I called these Variations my Opus One.The declamatory Introduction leads into the Theme heard on the viola. Six Variations follow of which No.3 is the most violent and No.4 the mostsustainedly lyrical. The recitative-like sixth variation leads into the Finale a more extended movement. The Theme returning on the piano leads to a climax at which there is a citation from Beethoven’s C minor Variations forpiano. Then their characteristics sequence of chords is heard on the piano as an accompaniment to the final statement of my own theme on the viola in the closing bars of the work.

for Viola and Piano-Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted Viola parts to his two sonatas. In any case the Viola and Clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms? authorship of the Viola parts. They include important differences fromthe Clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners treatises and essays early instructive editions and historical recordings the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.A pioneering Urtext editionWith an unmarked Urtext partWith a second part including fingering and bowing based on the practices of contemporaries of BrahmsWith an extensive Performance Practice

First Position - Volume 1-Viola Recital Album Volume 1: 9 Recital Pieces in First Position for Viola and Piano or Two ViolasViola Recital AlbumVolumes 1-4 (BA8990-BA8993)These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces are written entirely in first position they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may be played by the teacher or an advanced student. Alternatively a secondviola part allows duet playing with the teacher during lessons. The Viola Recital Album Volume 1 can be used as a supplement to the Early Start on the Viola method Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the student to solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces a pleasing and clear sound.New pieces to supplement the Sassmannshaus Viola methodAll pieces in first positionInclude an additional viola part for duet version and a piano accompaniment

First Position - Volume 4-These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces are written entirely in first position they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may be played by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album Volume 1 can be used as a supplement to the Early Start on theViola method Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the student to solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces a pleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Many of the occasional pieces Bridge wrote in the early part of his career were published in versions for Violin and Piano and Cello and Piano. Bridge was himself a fine Viola player and it is therefore appropriate that these pieces (in addition to those he wrote specifically for Viola and Piano) should be published in transcription for Viola.This volume contains numbers 6 to 10 of a set of ten pieces which have been skilfully transcribed for Viola with Piano accompaniment by Veronica Leigh Jacobs.

Ce livre fait partie d'une série cordes arrangées pour violon, alto et violoncelle. Les arrangements sont complètement compatibles les uns avec les autres et peut être joué ensemble ou en solo. Chaque livre propose un accompagnement au piano spécialement conçu qui peut être facilement joué par un professeur ou un étudiant de piano intermédiaire et une partie amovible conçu avec soin complet avec coups d'archet, les articulations, et les touches bien adapté pour le joueur de niveau 2-3. Un CD entièrement orchestrées accompagnement est inclus. Chaque chanson sur le CD comprend une piste de DEMO, qui dispose d'une chaîne de performances live, suivie par la piste Play-Along par lui-même.Ce livre est aussi le cadre d'un Lord Of The Rings séries instrumentales écrites pour flûte, clarinette, sax alto, sax ténor, trompette, cor en fa et le trombone. / Alto

If you thought dinosaurs were creatures of the past you'd better think again! Velociraptors Iguanadons and pterodactyls are brought back to life in Jurassic Blue a colourful collection of pieces with a jazzy twist. Following on from Jackaroo this book begins with a revision of the first finger and then moves on to second third and fourth fingers. Each piece introduces a new rhythmic or technical point with useful suggestion boxes for the teacher. There’s also the chance to create you own dinosaurs too inspired by Drew Hillier’s wacky illustrations plus pictures to colour in. With PamWedgwood’s lively accompaniments and the addition of words you can even sing along to Triceratops Rocks!

Category: String Series Format: Book & CD Instrument: Viola Instrumentation: Viola (with Piano Acc.) Level: Level 2-3 This incredibly versatile new collection was written especially for violin, viola, and cello. Each book features a piano accompaniment and a carefully crafted removable string part complete with bowings, articulations, and keys well suited for the Level 2-3 player. A fully orchestrated accompaniment CD, with demo tracks (featuring live string performances) and play-along tracks, completes each package. The string books are completely compatible with each other and can be played together or as solos. Due to level considerations, the string books are not compatible with the books in the wind series. Titles are: Can You Read My Mind? (Love Theme from Superman) * Cantina Band (Star Wars®) * Double Trouble (Harry Potter and the Prisoner of Azkaban) * Duel of the Fates (Star Wars®: Episode I The Phantom Menace) * Fawkes the Phoenix (Harry Potter and the Chamber of Secrets) * Harry's Wondrous World (Harry Potter and the Sorcerer's Stone) * Hedwig's Theme (Harry Potter and the Sorcerer's Stone) * The Imperial March (Star Wars®: The Empire Strikes Back) * May the Force Be with You (Star Wars®: The Empire Strikes Back) * Olympic Fanfare and Theme (1984 Olympic Games, Los Angeles) * Star Wars (Main Title) (Star Wars®) * Theme from Superman (Superman) * A Window to the Past (Harry Potter and the Prisoner of Azkaban).

Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Alto et Piano

This book contains the piano accompaniments for Viola Time Sprinters. Characterful and easy to play these piano parts provide stylish accompaniments to all of the pieces in the pupil book. Essential for teachers and musical parents these books will help motivate all young violists as they learn to play.

Tous des airs de l'agent secret ultime du grand thème, organisé intermédiaires Viola. Comprend les thèmes et les chansons à partir de 20 films de James Bond, ainsi que 'James Bond Theme' classique. Les pièces peuvent être soit réalisé en solo avec le CD d'accompagnements enregistrés, ou comme un ensemble avec les autres membres de cet ensemble ensemble à cordes. / Alto

Par . The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable. / Date parution : 2022-02-26/ Recueil / Alto

These arrangements of three lilting folk songs (Billy Boy Blow the Wind Southerly The Keel Row) are lovely to play and to listen to. They are straightforward technically and so accessible for beginner to intermediate standard players (Grade 4-6).