Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
0
Digital
Sheet Music
12
Sheet Music
Books
147
Music
Equipment
0
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
12
PIANO & KEYBOARDS
Piano Quartet: piano, violin, viola, cello
2
Piano Trio: piano, violin, cello
1
Piano Quintet: piano, 2 violins, viola, cello
1
GUITARS
4 Guitars (Quartet)
1
VOICE
Choral SATB
1
WOODWIND
Flute Quartet: 4 flutes
1
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
1
Clarinet Quartet: 4 clarinets
1
Oboe, Piano (duet)
1
WOODBRASS
Brass quartet : 2 trumpets, trombone, tuba
1
STRINGS
String Quartet: 2 violins, viola, cello
64
Cello
3
4 Cellos
2
Violin, Cello (duet)
1
String Quartet : 4 violas
1
String quartet: 4 violins
1
Violin and Piano
1
String Trio: violin, viola, cello
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
String Orchestra
3
Orchestra, Violin
1
OTHERS
You've selected:
Rather Be String Quartet
Sheetmusic to print
12 sheet music found
<
1
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged …
(+)
Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. Instrumental parts: 2 pg. ea. Duration: ca. 3:00. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. www.jamesguthrie.com.
$47.95
43.48 €
#
Gabrieli
#
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
#
jmsgu3
#
SheetMusicPlus
Petit concert en sextuor for oboe, harpsichord and string quartet
Small Ensemble,Strings Harpsichord,Oboe - Level 4 - Digital Download SKU: A0.836700…
(+)
Small Ensemble,Strings Harpsichord,Oboe - Level 4 - Digital Download SKU: A0.836700 Composed by Brian Joyce. 20th Century,Contemporary. Score and parts. 78 pages. Brian Joyce #2881183. Published by Brian Joyce (A0.836700). An 18-minute concerto in three movements for oboe, harpsichord and string quartet.From the program notes . . . .I can imagine readers glancing over a recital program and seeing that it includes a work for oboe, harpsichord and string quartet. They steel themselves against the onset of what promises to be a dull and dreary piece played by unsmiling people in black suits. My imaginary audience may be pleased to find that this Petit Concert is nothing of the sort. It is actually a rather relaxed piece, combining something of the 18th century Rococo (which was never very serious to begin with) and Steely Dan-influenced Hindemith. But just as a chef will hide the most unlikely ingredients in his sauces and confections, I hope I have concealed these disparate influences in a piece which speaks with its own voice. Here, then, is a short concerto with little if any overt virtuosity; it is offered simple for the enjoyment of players and audience alike. In this it perhaps comes round full circle to composers like François Couperin who preferred to please their listeners rather than stun them.Relaxed the piece may be. To be sure, ranges and techniques are far from extreme and there are plenty of triadic sonorities and almost normal functional harmony here. But there are also moments of jazz-inflected chromaticism and frequent meter changes to contend with. It will take players who can hold their own in a mildly dissonant sound world to pull this off. Careful attention to dynamics, tight ensemble and flawless intonation are a must, but diligent players will be rewarded with an immediate audience-pleaser.A separate harpsichord part is included for players who prefer not to read from the score. Equal temperament and a=440 are assumed for the harpsichord. A two manual instrument is preferred but not absolutely necessary.
$22.50
20.4 €
#
Brian Joyce
#
Petit concert en sextuor for oboe, harpsichord and string quartet
#
Brian Joyce
#
SheetMusicPlus
Rather Be
Piano Quintet,String Ensemble Piano - Digital Download SKU: A0.1014546 By Clean Ban…
(+)
Piano Quintet,String Ensemble Piano - Digital Download SKU: A0.1014546 By Clean Bandit Feat. Jess Glynne. By Grace Chatto, Jack Patterson, James Napier, and Nicole Marshall. Arranged by Adisantosa. Pop. Score and parts. 16 pages. Adisantosa #6072687. Published by Adisantosa (A0.1014546). This is an arrangement of a pop song by Clean Bandit Rather Be. The format is a string quartet plus piano. Thus the instruments here are violin, viola, violoncello, and piano.The arranger is a violinist who loves doing covers on the internet---> Youtube channel : Adisantosa.violinhttps://www.youtube.com/channel/UCxHIDKFR4AT3OKrr7H3U9HA
$14.99
13.59 €
#
Clean Bandit Feat
#
Youtube channel : Adisantosa
#
Rather Be
#
Adisantosa
#
SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 " American" Mvt.II Lento - symphonic wind dectet/bass
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download
(+)
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1143137 Composed by Antonin Dvorak. Arranged by Ray Thompson. Romantic Period. Score and parts. 23 pages. RayThompsonMusic #743323. Published by RayThompsonMusic (A0.1143137). Arranged wind dectet/bass 2nd mvt Lento - The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States of America. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths. The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour. I have NOT simply copied the string parts across to the winds, as other have done. Rather, I have arranged the piece as though it had been written for wind ensemblet, so have given the horns repeated notes , in the same way as the slow movement of the slow movement Dvorak's wind serenade., and also used the horns to sustain. Some of the arpeggio figures remain, but in a simplified form.and are shared between clarinets and bassoons.
$9.95
9.02 €
#
Antonin Dvorak
#
Dvorak: String Quartet No.12 in F Op.96 " American" Mvt.II Lento - symphonic wind dectet/bass
#
RayThompsonMusic
#
SheetMusicPlus
Rather Be
Large Ensemble Bass Guitar,Bass Voice,Cello,Drum Set,Keyboard,Piano,Viola,Violin - Level 4…
(+)
Large Ensemble Bass Guitar,Bass Voice,Cello,Drum Set,Keyboard,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.763105 By Clean Bandit Feat. Jess Glynne. By Grace Chatto, Jack Patterson, James Napier, and Nicole Marshall. Arranged by Joeri de Graaf. Pop. Score and parts. 60 pages. Joeri de Graaf Muziekproducties #370777. Published by Joeri de Graaf Muziekproducties (A0.763105). An accurate transcription of the song ‘Rather Be’ by Clean Bandit feat. Jess Glynne. This arrangement includes parts for voice, keyboard, piano, bass, drum set and string quartet (violin 1, violin 2, viola and cello). The bass part is notated with regular music notation for a synth bass and with tablature for bass guitar. The original song is in A-flat minor. For ease of use, I have transposed the arrangement to G minor.
$24.99
22.66 €
#
Clean Bandit Feat
#
Rather Be
#
Joeri de Graaf Muziekproducties
#
SheetMusicPlus
Renaissance Madrigals Arranged for Strings, set 2
String Ensemble - Level 3 - Digital Download SKU: A0.719774 Composed by Many. Arran…
(+)
String Ensemble - Level 3 - Digital Download SKU: A0.719774 Composed by Many. Arranged by Curtis Hanson. Renaissance. Score and parts. 46 pages. Curtis Hanson #6258399. Published by Curtis Hanson (A0.719774). Hey string players and teachers, are you looking for something different to program or teach your students? This collection of pieces, suitable for beginning and experienced ensembles, may be what you’re looking for. For the choral musician, the secular music of the 16th and early 17th centuries comprise some of the most delightful works of early repertoire. The madrigals in this collection are arranged for string trios, quartets, and quintets. The intent of these arrangements is to enable the instrumental musician an opportunity to experience a genre perhaps less familiar, with its varying degrees of rhythmic complexity and the juxtaposed interplay of duple and triple rhythmic figures. In keeping with the period, no dynamics are indicated, and articulations are kept at a minimum. Traditionally, repeated sections are to be played at a softer dynamic, but nothing is written in stone. For the up-tempo piece, as many are, rhythmic cleanliness and clarity are paramount, particularly in the iconic Fa-la-la sections. Accordingly, although they may be warranted, no slurs are given. Occasional staccatos are suggested for crispness. Vocal breath marks (') above the staff are meant to serve as guides in phrasing only, and tempos are only suggestions. As non-sacred works, they are generally not meant as 'serious' music, but rather as the music of the common people. Bottom line, they are meant to be fun, and the performer is free to interpret as desired. This collection is a companion to the arranger’s series of Renaissance Motets Arranged for Strings. With the purchase of this collection, permission is granted to photocopy parts as needed. The audio example is of the first few pieces in the collection.
$29.99
27.19 €
#
Many
#
Renaissance Madrigals Arranged for Strings, set 2
#
Curtis Hanson
#
SheetMusicPlus
Renaissance Madrigals Arranged for Strings, set 3
String Ensemble - Level 3 - Digital Download SKU: A0.719775 Composed by Many. Arran…
(+)
String Ensemble - Level 3 - Digital Download SKU: A0.719775 Composed by Many. Arranged by Curtis Hanson. Renaissance. Score and parts. 63 pages. Curtis Hanson #6258417. Published by Curtis Hanson (A0.719775). Hey string players and teachers, are you looking for something different to program or teach your students? This collection of pieces, suitable for beginning and experienced ensembles, may be what you’re looking for. For the choral musician, the secular music of the 16th and early 17th centuries comprise some of the most delightful works of early repertoire. The madrigals in this collection are arranged for string trios, quartets, and quintets. The intent of these arrangements is to enable the instrumental musician an opportunity to experience a genre perhaps less familiar, with its varying degrees of rhythmic complexity and the juxtaposed interplay of duple and triple rhythmic figures. In keeping with the period, no dynamics are indicated, and articulations are kept at a minimum. Traditionally, repeated sections are to be played at a softer dynamic, but nothing is written in stone. For the up-tempo piece, as many are, rhythmic cleanliness and clarity are paramount, particularly in the iconic Fa-la-la sections. Accordingly, although they may be warranted, no slurs are given. Occasional staccatos are suggested for crispness. Vocal breath marks (') above the staff are meant to serve as guides in phrasing only, and tempos are only suggestions. As non-sacred works, they are generally not meant as 'serious' music, but rather as the music of the common people. Bottom line, they are meant to be fun, and the performer is free to interpret as desired. This collection is a companion to the arranger’s series of Renaissance Motets Arranged for Strings. With the purchase of this collection, permission is granted to photocopy parts as needed. The audio example contains one piece from each of the three composers included, John Dowland, Thomas Morley, and Thomas Weelkes, three English giants in this genre.
$29.99
27.19 €
#
Many
#
Renaissance Madrigals Arranged for Strings, set 3
#
Curtis Hanson
#
SheetMusicPlus
JESU, JOY OF MAN'S DESIRING, Trio, Intermediate Level for String Trio, woodwind trio, any combinatio
Strings Bassoon,Cello,Flute,Oboe,Violin - Level 3 - Digital Download SKU: A0.521366…
(+)
Strings Bassoon,Cello,Flute,Oboe,Violin - Level 3 - Digital Download SKU: A0.521366 Composed by Johann Sebastian Bach. Arranged by Sherry Lewis. Baroque,Christmas,Easter,Wedding. 12 pages. Sherry Lewis Publishing #5983595. Published by Sherry Lewis Publishing (A0.521366). JESU JOY OF MAN'S DESIRING String Trio, Woodwind Trio, any combination of two treble clef instruments and one bass clef instrument, concert pitch. Can include two violins and cello, two flutes and cello, flute, oboe and cello, two flutes and bassoon, flute, oboe and bassoon, etc. score: 4 pages parts: 5 pages time: 3'06 DEMO NOTE: DEMO WILL PLAY IN STRINGS. Often I've begun the demo with a few measures cuts at the beginning to get to the main theme as the intro is rather long but is included in the arrangement of course. MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$6.50
5.89 €
#
Johann Sebastian Bach
#
https://www
#
JESU, JOY OF MAN'S DESIRING, Trio, Intermediate Level for String Trio, woodwind trio, any combinatio
#
Sherry Lewis Publishing
#
SheetMusicPlus
JESU JOY OF MAN'S DESIRING Duo, Intermediate Level for String Duo, Woodwind Duo, any combination of
Bassoon,Cello,Flute,Instrumental Duet,Oboe,Violin - Level 3 - Digital Download SKU: A0.…
(+)
Bassoon,Cello,Flute,Instrumental Duet,Oboe,Violin - Level 3 - Digital Download SKU: A0.521367 Composed by Johann Sebastian Bach. Arranged by Sherry Lewis. Baroque,Christmas,Easter,Wedding. 10 pages. Sherry Lewis Publishing #5983603. Published by Sherry Lewis Publishing (A0.521367). JESU JOY OF MAN'S DESIRING String Duo, Woodwind Duo, any combination of a treble clef instrument and a bass clef instrument, concert pitch. Can include violin and cello, flute and cello, oboe and cello, flute and bassoon, oboe and bassoon, etc. score: 3 pages parts: 4 pages time: 3'06 DEMO NOTE: DEMO WILL PLAY IN STRINGS. Often I've begun the demo with a few measures cuts at the beginning to get to the main theme as the intro is rather long but is included in the arrangement of course. MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$4.50
4.08 €
#
Johann Sebastian Bach
#
https://www
#
JESU JOY OF MAN'S DESIRING Duo, Intermediate Level for String Duo, Woodwind Duo, any combination of
#
Sherry Lewis Publishing
#
SheetMusicPlus
Oscillation
Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.…
(+)
Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1–3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartets’ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4–7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1–3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4–7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the work’s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10–13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second section’s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33–84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40–41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85–113 and is followed by a coda at mm.114–131.
$19.95
18.09 €
#
contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key
#
Jeremy Hart
#
Oscillation
#
Jeremy Graham Hart
#
SheetMusicPlus
Sonata for Violin & Harpsichord in D minor (VB 157)
Harpsichord,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.1488837 C…
(+)
Harpsichord,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.1488837 Composed by Joseph Martin Kraus. Arranged by Bertil van Boer. Classical. 27 pages. Artaria Editions #1065691. Published by Artaria Editions (A0.1488837). Artaria Editions AE432Joseph Martin Kraus was one of the most gifted and unusual composers of the 18th century, whose talent for thematic development, colourful orchestration and theatrical flair caused Haydn to proclaim him one of only two 'geniuses' he knew (Mozart being the other one). Although Kraus's focus as a composer was mainly upon works written for the stage, he had occasion and opportunity to write a variety of works for chamber setting, including four sonatas for violin and fortepiano, and this work in D minor, was written in 1777 expressly for violin and clavicembalo, representing a different sort of piece than the more common duo sonata. It is not known for whom the work was written, but the extensive virtuosity makes it likely that it was intended either for Kraus himself or his brother Franz (1760-1790), an exceptional talent on the violin. The two-movement format is similar to Kraus's early string quartets (VB 178; Artaria Editions AE418), though in this case, the extensive sonata form first movement is followed by a through-composed one consisting of a slow pastorale (replete with bass drone in the violin) and an exotic faster section that includes material from the first movement. What makes this work interesting is the use of scordatura; the G string is to be tuned down to F, which makes it more useful from a harmonic standpoint in that the note can be used in the tonic, relative major, and all dominant-subdominant keys. The Basso part is completely figured—for this edition it has been realized by the editor - but given that Kraus specifically mentions only the keyboard instrument (clavicembalo), it is unlikely that it was performed as a continuo, i.e. with additional violoncello/contrabass, but rather was intended for harpsichord alone.Allan Badley.
$30.00
27.2 €
#
Joseph Martin Kraus
#
Sonata for Violin & Harpsichord in D minor
#
Artaria Editions
#
SheetMusicPlus
Playing with Scales
Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Ins…
(+)
Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better.Â
$4.99
4.52 €
#
Richard Hirsch
#
Playing with Scales
#
Richard Hirsch
#
SheetMusicPlus
<
1
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version
