for Viola. If you play an instrument and you're a Disney fan, you'll love this collection of 101 favorites to learn and play! Songs include: Beauty and the Beast - Can You Feel the Love Tonight - A Dream Is a Wish Your Heart Makes - Evermore - Go the Distance - He's a Pirate - I See the Light - Kiss the Girl - Let It Go - Mickey Mouse March - Reflection - A Spoonful of Sugar - True Love's Kiss - We're All in This Together - When You Wish upon a Star - A Whole New World - You've Got a Friend in Me - Zip-A-Dee-Doo-Dah - and more./ Recueil / Alto

12 Favoris de Disney avec un CD qui vous permet de jouent avec un groupe complet ! Les titres comprennent : être notre invité o Can You Feel Love Tonight o couleurs du vent o ami comme moi o Let's Get Together o sous la mer o vous avez un ami à moi o zéro au héros o et bien plus encore. / Alto / 24 pages / Partition Cd

for String Quartet. Par MIRANDA LIN-MANUEL. Larry Moore's string quartet arrangement of the introductory song from Disney's Encanto captures the rich syncopations and energy of the traditional Colombian vallenato melody. In D major, your students will find this rewarding piece is just the vehicle for them to show off their gifts! / Date parution : 2022-11-29/ Répertoire / Quatuor à Cordes

An amazing selection from VH-1's 100 Greatest Songs Of Rock and Roll, arranged for solo Viola.Includes the songs: All Along the Watchtower, All Shook Up, American Pie, Beat It, Blowin' in the Wind, Blue Suede Shoes, Bohemian Rhapsody, Born to Be Wild, Born to Run, Bridge over Troubled Water, California Dreamin', Dream On, Every Breath You Take, Fire and Rain, Free Bird, Gloria, Good Vibrations, Great Balls of Fire, A Hard Day's Night, Hey Jude, Hotel California, (I Can't Get No) Satisfaction, I Heard It Through the Grapevine, Imagine, Jump, Layla, Let It Be, London Calling, Maggie May, My Generation, Piano Man, Proud Mary, Respect, Rock Around the Clock, Roxanne, Smells like Teen Spirit, Stairway to Heaven, Stand by Me, Sunshine of Your Love, Superstition, We Are the Champions, When Doves Cry, Yesterday, You Shook Me All Night Long and more. / Alto

Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals approached me with the idea of illuminating Beethoven´s quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor… What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays “hidden” in the St. John’s hymn that gave musical notes their original name: ‘Re, Sol, Ut, Io’ (D, G, C, B in English music notation) Perfect! “Resolutio” in Latin means both the resolution of a problem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally the melodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethoven´s “Harp Quartet”. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti) / Niveau : Avancé / Répertoire / 2 Violons, Alto et Violoncelle

Cette collection comprend des solos instrumentaux de classiques de Disney plus de 70. / Alto / 80 pages / niveau : Facile / Partition

For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes

Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her main purpose in life was to compose music. Already during the 1920s, as a student of Lódz Conservatoire, as part of her lessons in harmony and counterpoint, she made attempts at composing, in which she tried to resolve nagging technical problems and impart an artistically satisfying form to them. She grew up in an atmosphere of anti-romantic tumult and the emerging neoclassical style. She assimilated the main attributes of that current in a natural way: the need to forge logical formal constructs based on new harmonic principles, not determined by the major–minor system, and also a freedom in the shaping of textures, a fixed element of which was the combining of homophony with more or less strict polyphonic forms. One example of such a strategy is the String Quartet from her student years, signed with the date 1929–1930, which the composer did not include in her official catalogue of works. In the first movement (Allegro moderato), one can distinguish two principal subjects, served in the form of the incomplete exposition of a fugue. The chromaticised first subject, with its strongly highlighted head motif, appears in the cello, with an answer coming four bars later in the first violin. After a short bridge, the first violin intones the second subject, of a different character (dolce), and the answer appears a bar later and an octave lower in the viola. Both subjects can be heard also in the closing coda, and the space between them is filled by counterpoints based largely on ostinato figures of various sorts – a technique that Bacewicz would hone to perfection in her later work. The middle fughetta (Molto adagio), with a subject stated just once, and in only three parts (cello, first violin, viola), acts as an intermezzo. The third movement (Allegro molto moderato) is a double fugue with strongly contrasting subjects. The first subject, in the form of a chromaticised melodic continuum, exposed by the cello, is initially shown with the traditional arrangement retained (answered by the viola and second violin at a fifth, and by the first violin an octave above). The second subject (energico) is a structure shaped by the opening repetition of a motif of perfect fifths, then octaves combined with staccato-tremolo figurations. As the work unfolds, the two subjects appear simultaneously in original and inverted form, coming together in the closing Cadenza in a uniform idea crowned by strong (fff) chords repeated towards the end. - Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes

'What's important in music that's based on a poem - on the emotion inspired by a poem - is the music and power of emotion it harbours within itself?. These words, written in 1949 by poet Pierre Reverdy, would make a deep impression on composer Betsy Jolas. She'd just sent the writer her Six mélodies for mezzo-soprano and piano composed on poems from his masterwork Plupart du temps. The songs were accompanied by a letter that betrayed her fear of distorting his ideas. In creative terms, there was no need to worry - Betsy Jolas must have placed this conviction at the heart of her reflection on the relation between text and music. Nearly sixty years later, the musician decided to take several fragments of these beloved poems of Reverdy and place them, in the form of quotations, into new musical and theatrical perspectives. The exalted memory of the words led to D'Un Journal D'Amour, a mini-cantata for Voice and Alto offered as a wedding gift to soprano Eliette Prévôt and violist Antoine Tamestit, who premiered it together in Montreuil in 2010. / Voix Et Piano

Le Trio à cordes Op. 11, est né d'une rencontre avec le Trio à cordes des ' Solistes de Cannes '. A la suite d'un concert, les musiciens me demandèrent de leur écrire une oeuvre nouvelle destinée à enrichir leur répertoire constitué essentiellement d'oeuvres classiques. A cette époque, je venais juste de me remettre à composer et j'étais occupé à écrire une Sonate pour alto. Je me mis donc à cette commande d'autant plus intéressante pour moi que j'avais déjà esquissé un trio resté inachevé. A partir de cette ébauche, j'ai écrit une oeuvre très enlevée, d'une exécution ardue mais valorisante pour les musiciens. En effet, il s'agit là de trois solistes qui évoluent à part égale ce qui exclue pour le compositeur toute idée de ' remplissage '. J'ai également refusé la facilité qui consiste à abuser des doubles cordes. / Violon, Alto Et Violoncelle

This eclectic collection for solo Flute will delight film fans of all ages! 101 Movie Hits contains a dazzling selection of favourites from the silver screen, including Diamonds Are A Girl's Best Friend (Gentlemen Prefer Blondes), Eye Of The Tiger (Rocky III), Hallelujah (Shrek), Happy (Despicable Me 2), Mrs. Robinson (The Graduate), The Dreame (Sense And Sensibility), Let It Go (Frozen), Summer Nights (Grease), The Music Of Goodbye (Out Of Africa) and more. / Alto

for Viola. Instrumentalists will love this jam-packed collection of 101 timeless pop hits and favorite standards/ Recueil / Alto

Retrouvez 11 de vos chansons préférées issues de la comédie musicale 'High School Musical 3' spécialement arrangées pour violon alto. Inclus un CD avec des pistes d'accompagnement.Egalement disponible pour clarinette, saxophone alto, saxophone tenor, trompette, Cor, Trombone, violon, flûte, violoncelle. / Alto / Partition + Cd