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Viola, Piano
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Djembe (34)
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Pop music (32)
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Book (29)
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Opéra (28)
Bagpipe (28)
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Petit Choeur SATB, Contrebasse… (26)
Baritone Ukulele (26)
String trio (26)
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Solistes STBar, Choeur SATB, 2… (26)
SATB, (4 InstrumentS Basse et … (26)
Violin, Viola and Orchestra (26)
Musique Légère (26)
Mezzo-Soprano et Orchestre (26)
Saxophone Alto et Orchestre à… (26)
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2 Hautbois Et Orchestre (25)
Choeur SATB/SATB, (8 Instrumen… (25)
Choeur Mixte (SATTB/SATTB), So… (25)
Tout Instrument (25)
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Instruments à Vent (25)
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Choeur de Femmes (SSA) et Pian… (25)
Chorale d'Enfants et Piano (25)
Choeur Mixte (SSATBB) (25)
2 Clarinettes, 2 Violons, Orgu… (24)
Petit Choeur SATB, 2 ViolonSBa… (24)
Flûte Traversière Et Orchest… (24)
2 Hautbois, 2 Cors, 2 Clarinet… (24)
Clarinette et Quatuor à Corde… (24)
Quartette Pour Flûtes à Bec … (24)
Hautbois (Flûte), Violon, Alt… (24)
Quatuor à Cordes et Guitare (24)
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Basson, 2 Violons, 2 Altos et … (24)
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Flûte Traversière Violoncell… (24)
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String Trio: 2 violins, viola (24)
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Marches de concert (24)
Soli (T (Evangelist), B (Jesus… (24)
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Choeur SATB et Orchestre (24)
CD only (24)
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Orchestre Juniors (23)
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English horn, Piano (23)
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Choral SATTB (23)
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ENS::Ensemble d'cole (23)
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Flute, Viola and harp (21)
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More Time Pieces For Viola - Volume 1: Viola: Instrumental Album
Viola, Piano
[Sheet music]
ABRSM Publishing
Music through the Ages-Take a journey through time with More Time Pieces For Vio...
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Music through the Ages-Take a journey through time with More Time Pieces For Viola. These two volumes contain well-crafted arrangements presented in chronological order to take you from the seventeenth century right up to the present day. Pieces that regularly feature on the ABRSM Viola syllabus. Invaluable source of recital repertoire. Contrasting styles from Schubert to Stravinsky and from Wagner to Weill. Arrangements that practise the note ranges and keys of the grades. Maggy Lamb played the Viola with English National Opera and the Philharmonia Orchestra before taking up the post ofHead of Strings at St Peter’s School in York. She now divides her time between teaching performing and examining. Rachel Meredith is a Bristol University graduate. After a period performing both in the UK and abroad she now teaches upper strings in York. Rachel is also a syllabus selector and examiner for ABRSM.
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More Time Pieces For Viola - Volume 2: Viola: Instrumental Album
Viola, Piano
[Sheet music]
ABRSM Publishing
Music through the Ages-Take a journey through time with More Time Pieces For Vio...
(+)
Music through the Ages-Take a journey through time with More Time Pieces For Viola. These two volumes contain well-crafted arrangements presented in chronological order to take you from the seventeenth century right up to the present day. Pieces that regularly feature on the ABRSM Viola syllabus. Invaluable source of recital repertoire. Contrasting styles from Schubert to Stravinsky and from Wagner to Weill. Arrangements that practise the note ranges and keys of the grades. Maggy Lamb played the Viola with English National Opera and the Philharmonia Orchestra before taking up the post ofHead of Strings at St Peter’s School in York. She now divides her time between teaching performing and examining. Rachel Meredith is a Bristol University graduate. After a period performing both in the UK and abroad she now teaches upper strings in York. Rachel is also a syllabus selector and examiner for ABRSM.
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Johannes Brahms: Clarinet Sonatas Op.120 Arranged For Viola: Viola: Instrumental
Viola, Piano
G. Henle
Version for Viola-In the later years of his life in the 1890s Johannes Brahms ...
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Version for Viola-In the later years of his life in the 1890s Johannes Brahms was inspired by the clarinettist Richard Mühlfeld to compose Trio Op.114 Quintet Op.115 and the Sonatas Op.120 – three gems inthe Clarinet chamber music repertoire. Brahms also provided a part for Viola as an alternative to the Clarinet. The revision of this Henle Urtext edition of the Viola version of Op.120 is based onthe musical text of the New Brahms Complete Edition and in many respects contains significant improvements: the original autograph was consulted for the first time the newly set Piano score now contains the Viola part and Violaplayers can benefit from fingerings and bowings by Tabea Zimmermann in the solo part.
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Right from the Start: Viola: Part
Viola, Piano
Boosey and Hawkes
20 sehr leichte Stücke für junge Spieler-Twenty very elementary pieces for you...
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20 sehr leichte Stücke für junge Spieler-Twenty very elementary pieces for young players written and arranged by the world's favourite string teacher Sheila Nelson. Note reading is introduced one finger at a time building up finger pattern 0-1-23-4 (semitone space between 2nd and 3rd fingers) - the only finger pattern used in this book. A number of rhythmic bowing patterns set out at the beginning of the book may be practised on any of the earlier tunes once they have been memorised. The rhythms are assimilated by the pupil with the aid of strongly rhythmic easily memorable words. All the tunes can be sung to the verses provided in order to develop a secure sense of rhythm and pitch. Pupils learn right from thestart to move freely from string to string to play with confidence and to pay close attention to pitch.
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Robert Schumann: Marchenbilder Op. 113: Viola: Instrumental Work
Viola, Piano
Breitkopf & Härtel
Robert Schumann was the first to transport the lyrical character piece for piano...
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Robert Schumann was the first to transport the lyrical character piece for piano to the domain of chamber music. He drew upon the form stamped by Schubert Mendelssohn himself and many others since about 1820 to create a series of cycles in duo combinations. With his Märchenbilder Schumann created in 1851 the first important and path-breaking composition for viola and piano that was not written in sonata or variation form.
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Darius Milhaud: Sonata For Viola And Piano No.1: Viola: Instrumental Work
Français
Viola, Piano
[Sheet music]
Heugel
1st Sonata was written by Darius Milhaud and is based on anonymous tunes of the ...
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1st Sonata was written by Darius Milhaud and is based on anonymous tunes of the XVIII century and was dedicated to Germain Prevost. Initially composed for Viola and Orchestra this score features the Viola and Piano scores. It is composed of four distinct parts: 1. Entrée 2. Française 3. Air 4. Final Fairly difficult this Sonata can be used for recitals and contests by upper-intermediate players. Born in 1892 Darius Milhaud became a professor at the Paris Conservatoire after the WWII and composed a wide musical repertoire. One of thecharacteristic of the music he composed was its polytonality and its numerous influences (mainly French Provence Jazz South American and Jewish).
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Sonate N01 (MILHAUD DARIUS)
Viola, Piano
[Sheet music]
Heugel
Par MILHAUD DARIUS. 1st Sonata was written by Darius Milhaud and is based on ano...
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Par MILHAUD DARIUS. 1st Sonata was written by Darius Milhaud and is based on anonymous tunes of the XVIII century and was dedicated to Germain Prevost. Initially composed for Viola and Orchestra, this score features the Viola and Piano scores. It is composed of four distinct parts: 1. Entree 2. Française 3. Air 4. Final Fairly difficult, this Sonata can be used for recitals and contests by upper-intermediate players. Born in 1892, Darius Milhaud became a professor at the Paris Conservatoire after the WWII, and composed a wide musical repertoire. One of thecharacteristic of the music he composed was its polytonality and its numerous influences (mainly French Provence, Jazz, South American and Jewish)./ Répertoire / Alto et Piano
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Christoph Sassmannshaus Kurt Sassmannshaus Melissa Lusk: Viola Recital Album:
Viola, Piano
-
Easy
Barenreiter
First Position - Volume 3-These volumes contain a wide selection of easy recital...
(+)
First Position - Volume 3-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
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Christoph Sassmannshaus Kurt Sassmannshaus Melissa Lusk: Viola Recital Album:
Viola, Piano
-
Easy
Barenreiter
First Position - Volume 4-These volumes contain a wide selection of easy recital...
(+)
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
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Sonata Op. 39 (1997)
Viola, Piano
-
Intermediate
Ricordi
Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Ros...
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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
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Henryk Wieniawski: Scherzo Tarantella (Viola): Viola: Instrumental Work
Viola, Piano
[Sheet music]
-
Intermediate/advanced
Viola World
Henryk Wieniawski's Scherzo Tarantella for viola and piano transcribed by Alan ...
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Henryk Wieniawski's Scherzo Tarantella for viola and piano transcribed by Alan Arnold.
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6 Sonates En Trio Pour Orgue (BACH JOHANN SEBASTIAN)
Français
Viola, Piano
[Sheet music]
Delrieu
Par BACH JOHANN SEBASTIAN. Transcription pour alto et piano par Bruno Monsaingeo...
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Par BACH JOHANN SEBASTIAN. Transcription pour alto et piano par Bruno Monsaingeon et Antoine Joly On ne saurait affirmer que le répertoire original de concert de l'alto, en tant qu'instrument soliste, soit richement pourvu en chefs-d'oeuvre. Au mieux, et encore si on inclut les sonates de Brahms, elles-mêmes transcrites de la clarinette, deux programmes de récital et on a fait le tour de la question. Avec le présent recueil, nous n'avons d'autre ambition que de contribuer à élargir cet éventail. Les six sonates - dites en trio - pour orgue de Johann Sebastian Bach, figurent parmi les oeuvres les plus rigoureuses du compositeur. A l'inverse d'autres compositions pour orgue de Bach, ses grandes Fantaisies et Toccatas, dans lesquelles abondent de luxuriantes formules virtuoses de nature indubitablement instrumentale, les sonates relèvent d'une stricte écriture à trois voix, sans que jamais le moindre ajout harmonique, la moindre tentation exhibitionniste, viennent troubler leur parfaite pureté polyphonique. Il nous est apparu que leur facture fondamentalement a-instrumentale était telle que ces sonates se prêtaient sans doute mieux que toutes autres à la transcription. De surcroît, il était clair qu'il existait une évidente adéquation entre leur écriture et celle destinée à un instrument à archet, et que la vocalité intensément expressive de leurs mouvements lents, comme la sobre alacrité de leurs mouvements rapides, conviendraient à merveille aux couleurs sonores très spécifiques de l'alto. Restait à faire en sorte que la transcription pour cet instrument crée l'illusion qu'elles avaient été originellement conçues pour lui. A cet égard, deux types de problèmes étaient à résoudre. Le choix des tonalités. Bach lui-même, lorsqu'il adaptait pour le clavier ses concertos originellement écrits pour le violon, recourait toujours à un changement de tonalité, en transposant systématiquement ces oeuvres d'un ton vers le bas. Passer du clavier de l'orgue à l'alto requérait de procéder à un traitement analogue, pour faire en sorte que l'instrument à cordes soit exposé dans le registre qui lui serait le plus favorable, tout en tenant compte de ses propres limites. Dans notre recherche des tonalités les mieux adaptées à chacune des sonates, nous avons été guidés par le souci de contourner deux écueils celui qui contraindrait l'alto à jouer dans un registre trop aigu, où sa sonorité a tendance à se faire claironnante - et à éviter parallèlement de l'emmener trop souvent vers son registre grave, magnifique pour les notes tenues et chantantes, mais qui sied mal aux notes rapides, telles que les doubles croches, dont les Allegros de Bach font une allègre consommation. Du fait de l'épaisseur des cordes graves de l'alto, leur émission y est quelque peu confuse, et elles y prennent presque inévitablement une sonorité pelucheuse qui rend l'équilibre acoustique de la souveraine polyphonie de Bach peu perceptible. C'est ainsi qu'après bien des essais et tâtonnements, nous sommes arrêtés aux transpositions suivantes: de Mi bémol majeur à Sol majeur pour la 1e sonate, d'Ut mineur à Sol mineur pour la 2e, de Mi mineur à Ré mineur pour la 3e, et ainsi de suite. Dans l'édition, nous indiquons à chaque fois la tonalité d'origine. Pour finaliser nos choix, nous avons d'ailleurs dû jouer avec un paramètre supplémentaire, car il va sans dire qu'une fois décidée la tonalité d'ensemble de telle ou telle sonate, nous nous sommes fixé pour règle de respecter les relations de tonalité adoptées par Bach entre les mouvements rapides et lents de ses oeuvres. La distribution des voix entre les deux instruments. Bach ayant naturellement réparti les deux voix de 'dessus' et la voix de basse de ses sonates entre les deux mains et le pédalier de l'organiste, la solution qui apparaissait à première vue s'imposer pour notre transcription, consistait à attribuer la voix supérieure à l'alto, tandis que les deux mains de l'instrument à clavier se chargeraient de la voix médiane et de la basse. Et de fait, c'est ainsi que nous procédâmes pour l'essentiel. Néanmoins, en de nombreuses occasions, nous avons jugé bon de faire exception à ce principe trop simple. Deux types de raisons nous ont ainsi conduits à recourir ici ou là à une redistribution des parties d'un instrument à l'autre. Le souci là encore de ne jamais placer l'alto dans une tessiture extrême, et surtout d'éviter d'aboutir à une confusion des entrées et des réponses fuguées. Ce faisant, nous croyons être parvenus par la même occasion à créer des échanges d'une grande vitalité entre les deux instruments. En publiant ici le résultat du travail prodigieusement stimulant qui fut le nôtre - accompagné de propositions de coups d'archet soigneusement étudiées (mais évidemment révisables selon les choix interprétatifs de chacun), destinées à en rendre clairs le phrasé, l'expression et la facture - nous avons la conviction de pourvoir à l'enrichissement du répertoire des altistes sous la forme de six chefs-d'oeuvre de tout premier ordre, sans que la transcription les ait d'aucune manière dénaturés. Nous sommes également persuadés que le soi-disant 'parent pauvre' de la famille des cordes ne le cédera en rien au 'roi des instruments' dans l'expression du sublime lyrisme constamment présent dans ces oeuvres de Johann Sebastian Bach. / classique / Répertoire / Alto et Piano
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Darius Milhaud: Sonata For Viola And Piano No.2: Viola: Instrumental Work
Viola, Piano
[Sheet music]
Heugel
French composer and teacher Darius Milhaud (1892-1974) was a prolific composer ...
(+)
French composer and teacher Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded Sonata No. 2 for Viola and Piano being no exception. Milhaud's compositions are influenced by jazz and polytonality as exemplified in Sonata No. 2. Composed in 1944 Sonata No. 2 for Viola and Piano is an alternative exciting sonata made up of three movements; 1) Rural 2) Dramatic and 3) Rough. Milhaud makes use of variation in articulation complex rhythms chromaticism accidentals harmonics altering tempos variation in dynamics and a wide tessitura amongst other aspects. Milhaud's Sonata No. 2 for Viola and Piano is essential to all advanced violists seeking modern and exciting repertoire.
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Sonate N02 (MILHAUD DARIUS)
Viola, Piano
[Sheet music]
Heugel
Par MILHAUD DARIUS. French composer and teacher, Darius Milhaud (1892-1974) was ...
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Par MILHAUD DARIUS. French composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded, Sonata No. 2 for Viola and Piano being no exception. Milhaud 's compositions are influenced by jazz and polytonality, as exemplified in Sonata No. 2. Composed in 1944, Sonata No. 2 for Viola and Piano is an alternative, exciting sonata made up of three movements; 1) Rural, 2) Dramatic, and 3) Rough. Milhaud makes use of variation in articulation, complex rhythms, chromaticism, accidentals, harmonics, altering tempos, variation in dynamics and a wide tessitura, amongst other aspects. Milhaud 's Sonata No. 2 for Viola and Piano is essential to all advanced violists seeking modern and exciting repertoire./ Répertoire / Alto et Piano
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Got Those Position Blues? (HUWS JONES EDWARD)
Viola, Piano
[Sheet music]
Faber Music Limited
Par HUWS JONES EDWARD. These nine jazzy pieces have been specially written to he...
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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
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Christoph Sassmannshaus Kurt Sassmannshaus Melissa Lusk: Viola Recital Album:
Viola, Piano
-
Easy
Barenreiter
First Position - Volume 1-Viola Recital Album Volume 1: 9 Recital Pieces in Firs...
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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
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Franz Anton Hoffmeister: Concert D-Dur: Viola: Instrumental Work
Viola, Piano
G. Henle
Along with the Stamitz concerto Hoffmeister‘s Viola Concerto is the most ...
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Along with the Stamitz concerto Hoffmeister‘s Viola Concerto is the most important audition piece for Viola players. Yet it has been handed down in a complicated source tradition surviving ina single contemporary manuscript covered with many layers of markings. Our Piano reduction reconstructs for the first time the earliest textual layer in this source thereby coming as close as possible toHoffmeister‘s actual intentions. The reconstructed original is accompanied by a detailed critical commentary. Fingering and bowing marks have been added by no less a musician than Kim Kashkashian!
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Giacomo Puccini: Play Puccini: Viola & Piano: Instrumental Album
Viola, Piano
[Sheet music + CD]
Ricordi
Instrumental Play-Along-Who needs a singer? With Play Puccini instrumentalists ...
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Instrumental Play-Along-Who needs a singer? With Play Puccini instrumentalists can bathe themselves in luxurious Italian melody! These ten opera arias are among the composer's most famous and distinctive achievements here transcribed forintermediate level solo instrument and piano. The book includes a biography of Puccini notes about the plot of each opera and the dramatic context of the selected aria. The companion CD features excellent performances as wellas piano accompaniments for practice. Includes arias from: La Bohème La Fanciulla Del West Gianni Schicchi Madama Butterfly Manon Lescaut Suor Angelica Tosca andTurandot.
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Elizabeth Maconchy: Sonata For Viola And Piano: Viola: Instrumental Work
Viola, Piano
[Sheet music]
Chester
Elizabeth Maconchy composed her Sonata For Viola And Piano in 1937 which premie...
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Elizabeth Maconchy composed her Sonata For Viola And Piano in 1937 which premiered the following year in London. Included in this is the Score and Parts for Viola and Piano with the piece lasting around14 minutes. Elizabeth Maconchy enrolled at the Royal College of Music at the age of sixteen and while her String Quartets are often seen by many as the pinnacle of her musical achievements thisSonata For Viola And Piano is a beautiful interplay between the two instruments and must surely rank as one of the finest Viola sonatas ever composed.
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Gordon Jacob: Sonatina for Viola and Piano: Viola: Score and Parts
Viola, Piano
[Sheet music]
Novello & Co Ltd.
While Gordon Jacobs composed a vast amount of music more than four hundred pie...
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While Gordon Jacobs composed a vast amount of music more than four hundred pieces -- he was particularly celebrated for his work for Viola and for woodwinds as well as for his books on music pedagogy. Jacob had an early success with his Viola Concerto of 1926 which was premiered at a Promenade concert and which was the beginning of a series of strong contributions to Viola repertoire. This Sonatina for Viola and Piano demonstrates his sensitive writing for the instrument. It works very well when performed on clarinet as well.While many composers of the 20th century rejected serialism atonality and other avant garde effects in favour of Romanticism Jacob was much morean adherent to the musical models of the classic and baroque eras while still encompassing modern harmonies. His work Music for a Festival for symphonic wind band and brass ensemble was used for the post-war Festival of Britain and he arranged the British national anthem for the coronation of Queen Elizabeth II.
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Mary Cohen: Carol Stringfest: String Ensemble
Viola, Piano
Faber Music Limited
Carol Stringfest presents popular carols in flexible arrangements for string qua...
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Carol Stringfest presents popular carols in flexible arrangements for string quartet beginner strings and duet. The books in the series can be used independently or in conjunction with one another. The inclusion of very simple parts for absolute beginners and an optional piano accompaniment to support less confident groups makes the series valuable to a wide range of abilities. Lyrics are also provided so there is something for everyone a must for Christmas!
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Pam Wedgwood C. Lumsden: Jackaroo: Viola: Instrumental Tutor
Viola, Piano
-
Beginner
Faber Music Limited
Have you ever heard of a Crocodillo Lazy Chimliroo or Fluttering Butterworm - n...
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Have you ever heard of a Crocodillo Lazy Chimliroo or Fluttering Butterworm - not to mention a Pythonippotamus? These are just some of the creatures that feature in Jackaroo an imaginative collection of pieces with a jazzy twist for the absolute beginner viola player. Using only open strings and first finger each piece introduces a new rhythmic or technical point with useful suggestion boxes for the teacher. The addition of words and lively accompaniments by Pam Wedgwood mean that each piece can be sung through first. There’s even the chance to draw your own imaginary animals too inspired by Drew Hillier’s wacky illustrations - how about aSnivelling Skunkpanze? This book will inspire young violists and inject a healthy dose of fun into Viola lessons.
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Darius Milhaud: Quatre Visages Op.238 No.4 - La Parisienne: Viola: Instrumental
Viola, Piano
[Sheet music]
Heugel
French composer and teacher Darius Milhaud (1892-1974) was a prolific composer ...
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French composer and teacher Darius Milhaud (1892-1974) was a prolific composer of the 20th Century as a member of 'Les Six'. His compositions remain highly regarded Four Faces being no exception. Milhaud's compositions are influenced by jazz and polytonality as exemplified in Four Faces. The fourth of Four Faces The Parisian Woman is an alternative exciting piece for advanced violists. Composed in 1943 Milhaud makes use of harmonics complex rhythms ornamentation altering time signatures and clefs double stops variation in dynamics and a wide tessitura among other aspects.Milhaud's Four Faces is essential to all aspiring violists.
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Franz Schubert: Sonata per Arpeggione: Viola: Instrumental Work
Viola, Piano
Schirmer
The 'Arpeggione' was a guitar-like instrument tuned in the same way as the guita...
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The 'Arpeggione' was a guitar-like instrument tuned in the same way as the guitar but held between the knees and played with a bow. The instrument possessed a warm quality and it was this attribute which Schubert exploited in the sonata which he wrote for it in 1824. Schubert's manuscript on which this edition is based contains an alternative violin part which dates from the same period. To avoid an excess of leger lines and clef changes Schubert wrote the arpeggioned part almost exclusively in the treble clef which the performer was expected to read an octave lower than written. The work was edited for the viola when it came into its own as a solo instrument around the turn ofthe century.
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Viola Recital Album, Vol.2
Viola, Piano
-
Easy
Barenreiter
The 18 pieces in Volumes 1 and 2 are structured to follow the same progression o...
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The 18 pieces in Volumes 1 and 2 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. 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). Volume 2 (BA 8991) can be used as a supplement to the 'Early Start on the Viola method?, Volume 2 (BA 9687). / Alto Et Piano (Ou 2 Altos)
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Play it Again: Viola: Instrumental Album
Viola, Piano
-
Easy
Faber Music Limited
Tired of the same old exam pieces? Need a little light relief? Then here's the a...
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Tired of the same old exam pieces? Need a little light relief? Then here's the answer to your problems. Play it Again is a lively collection of favourite tunes both new and old expertly arranged for easy viola with upbeat but playable piano accompaniments. All viola parts are written in first position so they are perfect for the absolute beginner helping young players to gain confidence and learn basic technique in a fun and lively way. Both you and your teacher can really relax and have fun!The solo viola part is also included on a separate insert.
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I Love my Alto
Viola, Piano
[Sheet music + CD]
Leduc, Alphonse
titles selected by Valérie Bime-Apparailly. Par . Following the tremendous succ...
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titles selected by Valérie Bime-Apparailly. Par . Following the tremendous success achieved over the past two decades by her method 'Je débute l?alto' (HA 09740 and HA 09758), Valérie Bime-Apparailly presents an anthology of easy pieces for viola and piano, the interpretation of which requires only knowledge of the first position. Completed by a CD which includes the piano accompaniment of each piece as well as its complete version, this carefully designed selection displays a joyful diversity. / Date parution : 2022-02-03/ Recueil / Violon et Piano
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Antonín Dvo?ák: Romantic Pieces for Viola and Piano op. 75: Viola: Score and
Viola, Piano
Barenreiter
Arrangement for Viola and Piano-?Sooner or later the ?Romantic Pieces? will pave...
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Arrangement for Viola and Piano-?Sooner or later the ?Romantic Pieces? will pave their way through all the salons?: thus the periodical Dalibor predicted when the ?Romantic Pieces? op. 75 were first issued by the publisher Simrock in 1887. Since then they have become some of Dvorák?s most popular works for violin and piano. Now they are being made available for violists also.Bella and Semjon Kalinowsky have arranged the four pieces on the basis of the ?Complete Edition of the Works of Anton n Dvorák?. The piano part of the original version remains while the violin part has been adapted for viola; it has been transcribed into the alto clef and includes fingering and bowing marks.With theirentrancing melodies and poetry these pieces pose few technical challenges and are thus easy to play.
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Above Clouds
Viola, Piano
Bote and Bock
Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador...
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Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador to New York in 1939 because of her Jewish descent. In 2006 she returned to the city where she was born.Above Clouds for viola and piano, created in 2013/14, is one of Mamlok's most recent compositions and is no longer than about three minutes. In this period, however, many a thing happens, even if, as is often the case with Mamlok, the dramatization of the piece rather not follows traditional principles. This is why the end of the piece comes a surprise, when you least expect it. / Alto Et Piano
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Solos for the Viola Player: Viola & Piano: CD
Viola, Piano
[CD]
Schirmer
The accompaniment CD for the folio featuring: Adagio (Schubert) ? Allegretto (C....
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The accompaniment CD for the folio featuring: Adagio (Schubert) ? Allegretto (C.P.E. Bach) ? Andante (Mozart) ? Boston Fancy (Hornpipe) ? German Dance (Dittersdorf) ? I'm Just A-Goin' over Jordan ?March (Beethoven) ? Menuetto (Handel) ? O Mensch Bewein Dein Sunde Gross ? Romance ? Shenandoah ? Tambourin ? Theme and Variations (Marais) ? Verborgenheit (Wolf) ? Von Ewiger Liebe (Brahms)? Were You There?
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