Composed in 1741 Handel's Messiah has remained a popular choice for choir performances for nearly 275 years. With 3 Steps To Sing anyone can now learn and rehearse the piece at home, regardless of their ability to read music.This easy-to-follow learning method for the Alto part includes the following steps:Step 1 - Visual Learning DVDA voice part recorded by a professional singer (Soprano, Alto, Tenor or Bass). The notes and words are displayed on the screen and change colour in time with the music - all you have to do is join in as if singing a duet to learn your part.Step 2 - Voice Part Rehearsal CDIn this second step a narrator guides you, telling you when to sing and calling out where you are so that you don't get lost. Rehearse using your vocal score (available separately) and you will soon know the words and be singing the right notes.Step 3 - Chorus Backing Track CDPut what you've learned into practice with the third step, the Chorus Backing Track CD. Listen out for your part and sing along with the choir and background music - it's like singing with a real choir. / Alto

Sing Out Dear Children-This edition of the work from the early 1600s offers great versatility for the singers. The SSAATTB setting for young choirs and beyond allows the treble parts to be sung by soloists or a smaller mixed choir. Instruments may also be substituted for voices. For a bigger performance you may combine several choirs and add optional strings to the continuo. Available separately: SSAATTB Instrumental Accompaniment (Score and Parts for Strings). Duration: ca. 4:00.

Book/Insert/Online Audio-The seventeen Christmas songs in this volume arranged in comfortable keys can be used for players at different levels and for all kinds of occasions. All three editions (Violin Viola and Cello) include two parts foreither solo or duet performance and Piano accompaniment. The three books are all compatible so that ensembles may mix and match parts as desired. Suzuki groups may particularly enjoy these arrangements. The online audioavailable for download provides the Piano accompaniments alone. It can be used for back-up improvisatory play-along or for pleasant listening by itself. Includes two 24-page pull-out parts for Viola I and Viola II.

Vamoosh Christmas for young Violists. 12 well known Christmas items arranged for Viola duo with optional accompanying backing-track or piano. Books are compatible with Vamoosh Christmas for Violin, Cello, Double Bass, Flute and Recorder so you can join friends for a Christmas feast of music making. Backing-tracks are available on many online platforms such as Spotify, iTunes, GooglePlay and YouTube. Search for Vamoosh Christmas Backing-tracks.

Instrumental Play-Along-This volume in the Hal Leonard Instrumental Play-Along series features 12 of the most popular songs by the iconic British songstress Adele arranged for the Viola. The price of this book includes access to online audio demonstration and backing tracks that allow instrumentalists to slow down the audio without changing pitch loop for challenging parts and more. Songs include: All I Ask Chasing Pavements Make You Feel My Love Hello Million Years Ago Remedy Rolling in the Deep Set Fire To The Rain Rumour Has It Skyfall Someone like You and When We Were Young.

Six colourful miniatures depicting images of the sea range of moods and keys will provide plenty of technical practice for young players while the pictures conveyed will stretch their feeling for interpretation ?The six Seascapes all lie in first position and range across the four strings. They are in an accessible tonal/modal style and there are appropriate accompaniments for ?A sea breeze? and ?Rippling Waves.?? Music Teacher ?There is a lot of very expressive and attractive writing in a singularly English style.? Music in the Curriculum ?As well as being well written for this instrument(s)... theyeach pick up details of string technique which makes them very useful teaching material.? SATIPS

Etude, Méthode, Exercice, tout est bon pour apprendre et perfectionner son apprentissage musical. A travers, cette partition pour Alto vous pourrez découvrir l'oeuvre ayant pour titre VIOLA FUN / Dinie Goedhart, arr. Nico Dezaire - Alto qui a été éditée par la maison d'édition De Haske Publications. / Alto / 24 pages / niveau : Très Facile / Partition + Cd

Version for String Quartet.Score available: KP00510The composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory and as I at the same time planned to write a piece for solo viola my ideas for the music and the memory of the painting fused more and more. I decided then to let my piece borrow the title of Waterhouse’s paint-ing: 'The Lady of Shalott'. The picture of a mad-like pale and perhaps singing woman alone in a boat without sculls which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson’s poemby the same title which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources. As suggested above the piece was originally written for viola solo. The version for string quartet is from 1993.'

John Luther Adams' Everything That Rises for String Quartet. Composers note: I never imagined I would write a string quartet. Then I heard the JACK Quartet and I understood how Imight be able to make the medium my own. The result was The Wind in High Places - a twenty-minute work composed entirely on natural harmonics and open strings. Over the next few years twomore quartets followed. The second quartet  untouched  is a further exploration of the aeolian sound world of the first. Then in Canticles of the Sky the musicians finally touch the fingerboards of theirinstruments. And now comes Everything That Rises. This fourth quartet is more expansive both in time and in space. It grows out of Sila: The Breath of the World - aperformance-length choral/orchestral work composed on a rising series of sixteen harmonic clouds. Everything That Rises traverses this same territory but in a much more melodic way. Each musician isa soloist playing throughout. They surround the audience. Time floats. Over the course of an hour the lines spin out - always rising - in acoustically perfect intervals that grow progressively smaller as they spiralupward... until the music dissolves into the soft noise of the bows sighing. Duration: 60 minutes

Par PURCELL HENRY. This delightful string trio is straightforward technically, and will be fun to play for student and amateur alike. The ?Sonatas of III Parts by Henry Purcell? were first published in 1683. A facsimile of the first edition was published in 1975. This arrangement follows the facsimile faithfully, simply writing out the first violin and cello parts of the trio sonata, with the second violin part transposed down an octave in places to suit the viola. This edition follows Purcell's original text without the dynamics and bowing that later editors added. Scholars generally agree that in Purcell's time players decided themselves how to make the music expressive by using bowing and dynamics according to their tastes. / Date parution : 2022-03-16/ Répertoire / Violon, Alto ou Violon et Violoncelle

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes

String Quartet No.3 was written for and first performed by the Balanescu Quartet February 1990 at the Queen Elizabeth Hall London. Duration 16 minutes. A score is available on sale..Quoting composer: In the summer of 1989 Icomposed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responses of some inhabitants of Leninakhan to the earthquake which devastated Armenia theprevious December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of Khoren Meykhanejian Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no less profound experience of witnessing the images of the Romanian revolution on television duringthe later part of December 1989.The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would be superimposed quite often stretched into newintervallic shapes though the demands of the completely performed harmonic structure.

String Quartet No.3 was written for and first performed by the Balanescu Quartet February 1990 at the Queen Elizabeth Hall London. Duration 16 minutes. Instrumental parts are available on sale.Quoting composer: In thesummer of 1989 I composed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responses of some inhabitants of Leninakhan to the earthquake whichdevastated Armenia the previous December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of Khoren Meykhanejian Alex Balanescu suggested turning Out of the Ruinsinto a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no less profound experience of witnessing the images of the Romanianrevolution on television during the later part of December 1989.The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would be superimposed quite often stretched into new intervallic shapes though the demands of the completely performed harmonic structure.

This new scholarly-critical edition of String Quartet Op.127 the first of Beethoven’s late quartets follows upon Urtext publications of Opp.18 59 74 and 95.Once more the editor is the renowned Beethoven authority Jonathan Del Mar. All surviving sources have been consulted including sketches to clarify the conflicting readings in the autograph. Not only has Del Mar reconstructed Beethoven’s original beaming phrasing articulation and length of crescendo hairpins he has also corrected wrong notes that have taken hold in editions published over the years and has supplemented missing notes.Urtext edition at the cutting edge ofscholarship with detailed separate Critical Commentary (Eng)Parts ideally laid out for performance purposesParts (BA9029) & study score format 22.5 x 16.5cm (TP929) available for saleAlready published: String Quartets Op.18 BA 9016 parts TP 916 study scoreString Quartets Op.59 BA 9017 parts TP 917 study scoreString Quartets Opp.74 95 BA 9018 parts TP 918 study score