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Rather Be - Synthesizer
VIOLIN - FIDDLE
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Philip John Bertoud: Around The World In 80 Tunes 2: Violin: Instrumental Tutor
Violin
Spartan Press
This book sets out to teach the reader how to play the fiddle by using inspirin...
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This book sets out to teach the reader how to play the fiddle by using inspiring music from some of the great musical traditions of the world especially arranged by the author for the instrument. Includes 2 CDs!Ideal for the complete beginner there is no need for any previous musical knowledge.Invaluable for the existing player/improver looking for fresh ideas and exciting new tunes.By working though this unique book the reader will gain a sound knowledge of the fiddle plus a large and varied repertoire of traditional music from all over the world.By drawing on the less commonly heard music of countries such as Venezuala Rwanda Holland Trinidad Japan and Australia as well as the more popular traditions of Ireland and North America this book will produce a well-rounded fiddle player - a musician who will be inspired to look further into the exciting musical traditions of the world.Rather than being an exhaustive guide to all traditional styles of the world this book is a fiddle method which uses tunes from around the world to demonstrate the various techniques required to produce a competant traditional musician. It is the sincere hope of the author that the student will be inspired by study of the music contained in this book and recording to look more deeply into the styles of particular interest. Contents 7/8 Time Signature A L'ouchaq Fnit Ana (Morocco) Al Mout Ba-ddra' (Morocco) Alborada de Pontecaldelas (Spain) Bahcevanci with Double-stops (Turkey) Beale Street Blues (U.S.A) Bert Jamison's (Australia) Bisdot Bet-lechem (Israel) Castillian (Trinidad) Castillian with Double-stops (Trinidad) Cornin's Hornpipe (Ireland) Daichovo Chara (Bulgaria) Dance (Egypt) Dance from Rajasthan (India) Double Stops Dwans y Pistyll (Wales) Extract from Shin-Kinuta (Japan) Flop-Eared Mule (U.S.A) Fraggossiriani (Greece) Frayleleh (Israel) Friend Since You Want to Marry
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Robert Schumann: Violin Sonata No.2 In D Minor Op.121: Violin: Instrumental Work
Violin and Piano
G. Henle
Sonata no.2 in d minor op.121 for Violin and Piano-Schumann?s second violin sona...
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Sonata no.2 in d minor op.121 for Violin and Piano-Schumann?s second violin sonata was written in October/November 1851 only a few weeks after the first work for this combination of instruments (HN 428). The highly virtuosic sonata especially in the finale is characterised bythe close thematic dovetailing of the single movements. Wilhelm Joseph von Wasielewski who later became the composer?s biographer reported that ?smiling in his kind-hearted manner? the composer had said to him: ?I did not likethe first violin sonata; so I then wrote a second one which is hopefully better.? Schumann was apparently referring to the great differences in the expressive content: Whereas the first sonata with three movements seems rathermelancholy and dark overall the second ?Great Sonata? with four movements is bursting with energy and ends in vibrant D major.
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Mosaïque
Français
String Quartet: 2 violins, viola, cello
Billaudot
This string quartet is in five movements, of which the second and fifth are by f...
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This string quartet is in five movements, of which the second and fifth are by far the most elaborate. The remaining three movements are rather short, like brief vignettes.The second movement draws its inspiration from Schubert, albeit indirectly- the middle instruments in the quartet (violin 2, viola) play an accompaniment with a motif of two slurred notes, almost always in sixths.In spirit and style, the fifth movement is akin to Masques for violin and cello: a rather introspective piece, a simple compositional approach using few notes, obsessively repeated melodies, the absence of tonality, no modulation in the proper sense of the word, repetitive structures and hypnotic sequences.The movements may be played individually.Commissioned by the Spanish Center for the dissemination of Contemporary Music, 2009.Premiered on April, 27. 2009, at the Museo Nacional Centro de Arte Reina Sofia, Madrid (Spain), by the Capuçon Quartet. No direct sales to individuals: consult your music shop.2015 recommended retail prices excluding VAT.Works on hire: contact our Hire Department directly. / Quatuor A Cordes
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Carl Maria von Weber: 6 Sonatas For Piano And Violin op. 10: Violin:
Violin and Piano
[Sheet music]
G. Henle
6 Sonatas for Piano and Violin op. 10 (b)-Weber composed an incredible array of ...
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6 Sonatas for Piano and Violin op. 10 (b)-Weber composed an incredible array of compositions in his rather short but at the same time tireless life. Many of them have still to be discovered. The Six Violin Sonatas op. 10 (b) composed inDarmstadt in 1810 are most certainly amongst them. The individual movements are rather short and also not particularly difficult technically. The music is on the other hand all the more compelling which is partly due to thevarious integrated dance forms: ?Carattere Espagnuolo? and ?Air Polonais? in Sonata No. 2 ?Air Russe? in No. 3 ?Siciliano? in No. 5 and a ?Polacca? in No. 6.
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Peter Maxwell Davies: Naxos Quartet No.4 - Children's Games: String Quartet:
String Quartet: 2 violins, viola, cello
[Sheet music]
-
Advanced
Chester
The Full Score for Peter Maxwell Davies’ fourth in a series of ten string...
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The Full Score for Peter Maxwell Davies’ fourth in a series of ten string quartets commissioned by the Naxos Recording company first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace Oslo Norway as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004 with the intention of producing something lighter and much less fierce than itspredecessor an unpremeditated and spontaneous reaction to the illegal invasion of Iraq.I returned to the well-known Brueghel picture of children's games (1560 now in Vienna) which had been the inspiration for my sixthStrathclyde Concerto for flute and orchestra. These illustrations liberated my musical imagination but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of thework. Suffice it to say that there is vigorous play - leap-frog bind the devil with a cord truss wrestling - alongside quieter pastimes - masks guess whom I shall choose courting odds and evens. The single movementjuxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture taking liberties which would never be presentin for instance Brunelleschi architectural drawings so here with a constant sequence of transformation processes I have distorted the neat precise implications of modal progression expressed in the unison opening phrase(from F to B through A sharp/B flat) so that the ear is led en route into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that Iwas reading into and behind the games adult motives and implications concerning aggression and war with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B
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Philip John Bertoud: Around The World In 80 Tunes 1: Violin: Instrumental Tutor
Violin
Spartan Press
This book sets out to teach the reader how to play the fiddle by using inspirin...
(+)
This book sets out to teach the reader how to play the fiddle by using inspiring music from some of the great musical traditions of the world especially arranged by the author for the instrument. Includes CD!Ideal for the complete beginner there is no need for any previous musical knowledge.Invaluable for the existing player/improver looking for fresh ideas and exciting new tunes. By working through this unique book the reader will gain a sound knowledge of the fiddle plus a large and varied repertoire of traditional music from all over the world.By drawing on the less commonly heard music of countries such as Venezuala Rwanda Holland Trinidad Japan and Australia as well as the more popular traditions of Ireland and North America this book will produce a well-rounded fiddle player - a musician who will be inspired to look further into the exciting musical traditions of the world. Rather than being an exhaustive guide to all traditional styles of the world this book is a fiddle method which uses tunes from around the world to demonstrate the various techniques required to produce a competent traditional musician. It is the sincere hope of the author that the student will be inspired by the study of the music contained in this book and recording to look more deeply into styles of particular interest.
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Les Maîtres Du Violon 5 (Mathieu Crickboom)
Violin
[Sheet music]
Schott
Douze Cahiers D'Etudes Revues, Annotées et Doigtées Par Mathieu Crickboom. Par...
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Douze Cahiers D'Etudes Revues, Annotées et Doigtées Par Mathieu Crickboom. Par CRICKBOOM MATHIEU. The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year's time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated./ Méthode / Violon
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Gershwin George - Summertime - String Quartet
String Quartet: 2 violins, viola, cello
Schott
from Porgy and Bess Instrument : string quartet (double bass ad lib.) Type : sc...
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from Porgy and Bess Instrument : string quartet (double bass ad lib.) Type : score and parts Nombre de Pages : 16 There is hardly any other lullaby in the field of classical music - apart from Brahms' 'Guten Abend, gute Nacht' - that has gained such popularity as George Gershwin's (1898-1937) 'Summertime'. It is a song from his opera Porgy and Bess“ which was premiered in New York on 10 October 1935 with only moderate success at first. Every important jazz musician insisted on presenting his own version of this rather evocative and catchy song with which Clara rocks her child to sleep at the beginning of the opera. The present version now offers the opportunity to play this famous 'Summertime' with a string quartet (and double-bass ad lib.) or string orchestra - let's swing!
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Suite de Pieces (COLERIDGE-TAYLOR SAMUEL)
Violin, Organ
[Sheet music]
Ut Orpheus
Par COLERIDGE-TAYLOR SAMUEL. The period of composition (ca. 1893) for the Suite ...
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Par COLERIDGE-TAYLOR SAMUEL. The period of composition (ca. 1893) for the Suite de Pièces for violin and piano or violin and organ was especially productive for Samuel Coleridge-Taylor (1875-1912) in the realm of chamber music. Unpublished works include a piano quintet, clarinet sonata, nonet, piano trio, and a piano sonata. It is notable that the different versions of the Suite for piano and organ are so contrasting. Typically, pieces in this genre that exist in versions for piano and organ have little that separate them in terms of musical content. However, Coleridge-Taylor not only approaches each keyboard instrument quite differently but conceived the violin part with notable melodic differences. This can be considered exceptional as they were both issued by the same publisher within a close timeframe. Coleridge-Taylor would have been very familiar with the organ from his early church experience as a boy in addition to studies at the Royal College of Music with Walter Alcock. His writing is consistently idiomatic for the instrument. The few registrational directions in the first edition, assuming they are by Coleridge-Taylor, demonstrate an understanding of the need to balance the organ part with the violin part so that the organ is not too loud. Rather than numbering the manuals I and II, with II being the quieter manual, the score indicates Swell and Choir but there is no requirement for the Great to be used. There are also extended sections where no manual indication is given at all. Whether the registration markings were made by Coleridge-Taylor or an editor at Schott is unclear but the indication for a Choir manual suggests not so much the need for an organ of three manuals but an instrument with a range of foundational colours for writing that is often accompanimental in nature. / Date parution : 2023-06-01/ Répertoire / Violon et Orgue
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kammersymphonie Op, 9 (SCHOENBERG ARNOLD)
Chamber Orchestra
[Study Score / Miniature]
Universal Edition
Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different ex...
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Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different expressive urge, shape themselves into a defi nite horn theme, spread themselves out architectonically over the whole piece, and place their stamp on everything that happens. Thus it turns out that they do not appear here merely as melody or as a purely impressionistic chord effect; their character permeates the total harmonic structure, and they are chords like all others.' (Arnold Schoenberg, Theory of Harmony, 1911) The Chamber Symphony Op.9 heralded a breakthrough in Schoenberg's compositional style. While the work did not go hand in hand with the complete destruction of the old tonal system it does show an extension in chordal and melodic constructions. It's focus on the interval of the fourth rather than the third is stated right at the start with the horn fanfare and this leads into the use of the whole tone scale soon after. These two elements open up a new sound space which he would explore further in the works to follow. Certainly not a work to be missing from any library where contemporary music is one of the main focuses./ Répertoire / Ensemble de Musique de Chambre
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Giya Kancheli: Piano Quartet in L'Istesso Tempo: Chamber Ensemble: Score and
Piano Quartet: piano, violin, viola, cello
[Sheet music]
-
Intermediate
Schirmer
Score and Parts-A brilliantly moving and sorrowful piece from Giya Kancheli wri...
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Score and Parts-A brilliantly moving and sorrowful piece from Giya Kancheli written for Piano Quartet. Although simple in its form this piece should not be mistaken for something indifferent but rather as a convention to explain in musicallanguage the sadness of Kancheli's life.
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Frank Bridge: Three Pieces: Violin: Instrumental Album
Violin and Piano
-
Intermediate
Faber Music Limited
These three pieces were written seperately between 1901 and 1910 for cello and p...
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These three pieces were written seperately between 1901 and 1910 for cello and piano but are arranged here for Violin and Piano. Three of Frank Bridge's more popular and familiar works from his early days of composition are included here and although masterful and beautiful are rather conservative in the use of traditional techniques.
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Jan Kubelík: Menuett: Violin: Instrumental Work
Violin
Barenreiter
Jan Kubelik (1880-1940) is regarded as one of the most outstanding Czech Violin ...
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Jan Kubelik (1880-1940) is regarded as one of the most outstanding Czech Violin virtuosos. He studied Violin under Otakar Sevcik and composition under Josef Foerster Karel Knittl and Karel Stecker at the Prague Conservatory. After his studies he focused solely on his concert career.Kubelik made the Czech Violin tradition famous around the whole world and he was hailed as a new Paganini ( Paganini redivivus ). Nowadays his most played pieces are small compositions for Violin and Piano including this Minuet In An Old Style composed in 1930. They have been highly regarded for their perfect instrumental stylisation and the use ofpurely violinistic cantilena. 6 Violin concertos are set broadly rather like symphonies than concertos. Kubelik also composed Orchestral and Piano accompaniments for the works of Paganini (preserved in manuscripts) and cadenzas for numerous Violin concertos.
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Wind Dances (JALBERT PIERRE)
Flûte Traversière (Piccolo), Hautbois, Clarinette,
[Score and Parts]
-
Advanced
Schott
for piano and woodwind quintet. Par JALBERT PIERRE. Wind Dances is in seven shor...
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for piano and woodwind quintet. Par JALBERT PIERRE. Wind Dances is in seven short contrasting movements, each containing dance-like rhythms, both slow and fast. Having two sons who both play the clarinet, I've heard many a woodwind quintet, so I've been wanting to write for the medium for quite a while. In this instance, I also added my own instrument, the piano. The work opens with a fast movement containing driving rhythms in the winds, which are then answered by the piano. The second movement features colorful effects in the winds and piano (slap tongue, air sounds, muted tones) leading to a long extended lyrical line, gradually orchestrated to involve all the winds. The third movement is a dynamic scherzo, with a separate middle section similar to a traditional Trio section. The slowly unfolding fourth movement is the longest of the piece and anchors the middle of the work. The fifth movement is a kind of echo of the third movement, though this time the dynamic scherzo is high and light, rather than low and dark. The sixth movement is related to the second movement, and is basically a solo cadenza for the clarinet, with a few accompanimental gestures in the piano. The seventh and final movement reprises material from the first movement, this time with new and driving dance-like gestures added. - Pierre Jalbert / Niveau : Avancé / Répertoire / Flûte Traversière (Piccolo), Hautbois, Clarinette,
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Stephen Dodgson: Seven Miniatures: Violin
Violin
-
Easy
ABRSM Publishing
Three new compositions by Stephen Dodgson have been added to four of his pieces ...
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Three new compositions by Stephen Dodgson have been added to four of his pieces previously set for Associated Board examinations to make an attractive suite all of the pieces can be played in first position with the exception of numbers 5 and 6?A warm welcome to both the Ridout Seascapes and the Dodgson Miniatures... The Dodgson Miniatures are more individual and rather more difficult with an amusing ?Humoresque? a plangent ?In the Phrygian Mode? and a clearly phrased dance which introduces G flats (as well as using F sharps). They are playable without being predictable.? Music Teacher
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Klar/Obskur (SCHWEITZER BENJAMIN)
Hautbois, Basson et Piano
[Score]
Schott
Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the ...
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Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano
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Johann Christian Bach: Concerto en ut mineur: Violin and Accomp.: Instrumental
Violin and Piano
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Intermediate
Salabert
Henri Casadesus was passionate about early instruments, as we know from a number...
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Henri Casadesus was passionate about early instruments, as we know from a number of photographs showing him with viola d?amore, the subject of a manual he wrote entitled Tecnique de la viole d?amour. The Concerto en Ut mineur was first published in 1947 by Mica Salabert. The first edition gives the so-called ?original? part for solo violocello together with the score which, according to the preface, has been adapted for viola or cello or violin by Casadesus. However, stylistic analysis of the piece, together with some musicological research carried out after the appearance of the first edition reveals that the ?original? version for violoncello, on which the adaptation was supposed to be based, cannot be attributed to Johann Christian Bach, but is rather a work imitating his style written two centuries later. In spite of this, Concerto en Ut mineur encountered considerable success and continues to be studied and performed by both violinists and violoncellists today.
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Donald Miller: Music From Around The World: Violin: Instrumental Work
Violin
[Sheet music]
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Easy
Mel Bay
Solo and Emsemble Violin 1 and 2-Many selections in this volume are unique and ...
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Solo and Emsemble Violin 1 and 2-Many selections in this volume are unique and until now have been inaccessible to the string ensemble repertoire. These pieces are intended for multiple strings for performance in the classroom as well as performance in concerts.Several players may be used on each part. Whenever possible every effort was made to keep the viola and violoncello/double bass parts melodic rather than simply filling in the various harmonic chord progressions. The pieces maybe performed as a solo for each instrument (Violin 1 Violin 2 Viola or Cello) with piano accompaniment or as duets or trios as well as full orchestra. If performed with full orchestra the piano accompaniment is not necessary.The string ensemble series meets all standards for ASTA with NSOA (American String Teachers Association/National School Orchestra Association) and Suzuki Association of the Americas Inc. Free piano accompaniment AND ensemblescore downloads available for use with this title.
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Latin Dances
String Quartet: 2 violins, viola, cello
Schott
Demanding salon music for string quartet (with double-bass ad libitum) is provid...
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Demanding salon music for string quartet (with double-bass ad libitum) is provided by Wolfgang Birtel in his 'Latin Dances' with four titles which can be played individually or as a little suite. The first dance is the chorinho 'Não me toques' by Zequinha de Abreu (1880-1935) who not only wrote 'Tico Tico' but also other rousing pieces of music. Ernesto Nazareth (1863-1934) is considered to be the 'inventor' of the Brazilian tango and waltz: He titled the waltz, which follows as second title, 'Ingenious'. These rather unknown titles are followed by two absolute worldwide hits: 'Bolada de Aficionado' by A.G. Villoldo and then the everlasting beguine 'Bésame Mucho' by the Mexican composer Consuelo Velázques (1916-2005). Whether individually or as a 'four-pack' - the fingers will be twitching and the toes will be tingling for this music carries away musicians and audience alike. / Quatuor A Cordes
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20 Études brillantes et caractéristiques op. 73 (DANCLA CHARLES)
Violin
Schott
Par DANCLA CHARLES. The studies by Charles Dancla (1817–1907) are more than me...
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Par DANCLA CHARLES. The studies by Charles Dancla (1817–1907) are more than mere technical exercises. They demand a special sense of tone, an elegant, softly flowing and swinging way of playing. They challenge the violinist in all associated disciplines, such as staccato on an up- and downbow, arpeggios, double stop passages and rapid passages. Apart from that, Dancla again and again seeks the soft, singing sound areas and the refined sound. It is fun for both teacher and pupil to develop the violin playing technique in such a way. Furthermore, the delight in music-making is increased as every piece has its own characteristic, appearing not like a study but rather like a performance capriccio which could be played as an encore, for example. The present edition is based on the (presumed) first edition of the Parisian publisher S. Richault (plate number 12974.B.) from c. 1856. Added fingerings have been marked accordingly. Information on technical characteristics, playing suggestions, etc. are contained in the notes at the end of the volume./ Etude / Violon
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Johannes Brahms: Streichquartett Op.67: String Quartet: Study Score
String Quartet: 2 violins, viola, cello
[Study Score / Miniature]
G. Henle
Urtext Edition-Brahms had already composed over 20 String quartets (he confessed...
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Urtext Edition-Brahms had already composed over 20 String quartets (he confessed to a friend that he had burnt all of that ?stuff?) before he finally presented his Opus 51 to the public. In the end only three surviving works managedto withstand his high self-criticism; numerous layers of corrections bear witness to his struggle with each detail. We are now publishing the two passionate dark Quartets Op. 51 separately from the rather more lively Opus67. The basis for this edition is the volume in the New Complete Edition of Brahms? works published in 2004 by Henle for which previously missing sources in a Swiss bequest were consulted for the firsttime.
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Johannes Brahms: Streichquartett Op.51: String Quartet: Study Score
String Quartet: 2 violins, viola, cello
[Study Score / Miniature]
G. Henle
String Quartets in c minor and a minor op. 51-Brahms had already composed over 2...
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String Quartets in c minor and a minor op. 51-Brahms had already composed over 20 String quartets (he confessed to a friend that he had burnt all of that ?stuff?) before he finally presented his Opus 51 to the public. In the end only threesurviving works managed to withstand his high self-criticism; numerous layers of corrections bear witness to his struggle with each detail. We are now publishing the two passionate dark Quartets Op. 51 separatelyfrom the rather more lively Opus 67. The basis for this edition is the volume in the New Complete Edition of Brahms? works published in 2004 by Henle for which previously missing sources in a Swiss bequest wereconsulted for the first time.
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Wolfgang Amadeus Mozart: Violin Sonatas Volume 2: Violin: Instrumental Album
Violin and Piano
[Sheet music]
Peters
This complete edition of the Mozart sonatas for violin and keyboard has been res...
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This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen one of the most distinguished Mozart scholars of our time. Professor Eisen recognizes that many of the apparent inconsistencies and idiosynchrasies of Mozart's notation are perfectly deliberate and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can bemisguided. As he writes in the preface '...the notion that the classical style represents a model of symmetry balance and clarity is for the most part an 19th-century fiction...it has little to do with Mozart's actual practice which is basedprimarily on variety of both content and articulation.' So in this new edition alternative readings found in parallel passages are preserved rather than being sterilized by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisenis is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterized by changes--sometimes substantial changes--in the musical text.' It is the achievement of this edition to indicate how far this freedom of musical expression can extend and as such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.Contents: Sonatas K296 K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler).
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MOZART W.A. - VIOLIN CONCERTO N°3 IN G MAJOR KV 216
Violin
[Sheet music + Audio access]
Hal Leonard
Performed by Mario Hossen, violin Accompaniment: Plovdiv Chamber Orchestra Condu...
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Performed by Mario Hossen, violin Accompaniment: Plovdiv Chamber Orchestra Conductor: Nayden Todorov Mozart's third violin concerto, KV216, sometimes called the 'Strassburg' for a 'Strassburger' tune in its Rondo, is scored for a rather simple, chamber-sized orchestra. The Adagio of this concerto must be the most sublime movement in any of his violin concerti and one of the most beautiful and quintessentially Mozartian in his entire oeuvre. Perhaps the most memorable of his five violin concerti, it is quintessential Mozart and an indispensable addition to any serious violinist's repertoire. Includes a printed music score with informative liner note, and demonstration and backing tracks line. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. / Violon / Hal Leonard
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Dorothy Croft: Violin Theory for Beginners Book 2: Violin Solo: Instrumental
Violin
Southern Music Ltd
Violin Theory for Beginners is the result of many years of effort to teach music...
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Violin Theory for Beginners is the result of many years of effort to teach music theory effectively in relation to the violin. Each lesson has been thoroughly tested with students of all levels of ability in an effort todetermine the correct approach and the essential amount of repetition. The use of a blackboard cannot be too strongly stressed to insure complete understanding and to prevent mistakes in the written exercises at the end of eachlesson. The teacher will need to determine how many exercises each child needs; however the author uses all of them. This book is not intended to be an exclusive discourse; rather it is meant to serve as a basis for theindividuality and the ingenuity of the teacher.
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Brian Elias: Three Scherzi: Violin: Instrumental Album
Violin
Chester
'Three Scherzi for violin and piano follow closely the Minuet and Trio form used...
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'Three Scherzi for violin and piano follow closely the Minuet and Trio form used so often for lighter movements in eighteenth and early nineteenth century sonatas and symphonies. In each piece the Minuet isdivided into two sections and each section is repeated; similarly the Trio section is also divided into two repeated sections in which the music is generally more gently paced. After the Trio the minuet is played againimmediately this time without repeats. In these Scherzi I have chosen to use variants of the original of each section in most instances rather than make exact repetitions. The first Scherzo lasts approximately 3 minutes thesecond 6 minutes and the third 2 minutes. Part of my interest and purpose in writing these pieces was to use an identical but highly elastic form for three pieces of different durations. I was also intrigued by the form’shistorical development and evolution into the Scherzo and I hope this explains the atmosphere and style of the music.The material for each of the three pieces is different although the harmonic and rhythmic worlds ofeach one are similar and as a result they do form a complete work in three movements. However each of the three Scherzi may be played separately. These three pieces were written between September 2004 and August2007.'Brian Elias
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Doreen Smith: Violin Sight-Reading 1: Violin: Instrumental Tutor
Violin
Schott
Violin Sight-Reading 1 aims to establish good practice and provide an early intr...
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Violin Sight-Reading 1 aims to establish good practice and provide an early introduction to the essential skill of sight-reading. The emphasis is on providing idiomatic tunes and structures rather than sterile sight-reading exercises. Each section begins with several solo examples beginning with open strings (pizzicato and arco) and concludes with duets and accompanied pieces allowing the student to gain experience of sight-reading within the context of ensemble playing.
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4 Cadenzas: Violin: Instrumental Work
Violin
Schirmer
The practice of letting the soloist improvise their own Cadenza during a Concert...
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The practice of letting the soloist improvise their own Cadenza during a Concerto had almost died out by the nineteenth century since composers disliked the way performers frequently used the oppurtunity to showcase their own virtuosic talent rather than working out a cadenza which would suit the music. These four Cadenzas for Mozart Beethoven Brahms and Paganini concerti however have been carefully worked out and performed by the modern violinist Nathan Milstein. They are extremely challenging but avoid 'empty virtuosity' - they have real musical value as one would expect from one of the finest Violinsts of the Twentieth Century. They can be used for performance or as astudy aid to the art of Cadenza improvisation. All four Concertos have been recorded by Milstein.
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Wolfgang Amadeus Mozart: Mozart - Violin Concerto No. 3 in G Major KV216:
Violin
[Sheet music + Audio access]
Music Minus One
Performed by Mario Hossen violin Accompaniment: Plovdiv Chamber Orchestra Condu...
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Performed by Mario Hossen violin Accompaniment: Plovdiv Chamber Orchestra Conductor: Nayden Todorov Mozart's third violin concerto KV216 sometimes called the 'Strassburg' for a 'Strassburger' tune in its Rondo is scored for a rather simple chamber-sized orchestra. The Adagio of this concerto must be the most sublime movement in any of his violin concerti and one of the most beautiful and quintessentially Mozartian in his entire oeuvre. Perhaps the most memorable of his five violin concerti it is quintessential Mozart and an indispensable addition to any serious violinist's repertoire. Includes a high-quality printed music score with informative liner notes and a compactdisc containing a complete stereo version with soloist then a second version in full stereo of the orchestral accompaniment minus the soloist.
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