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).

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

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.