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Interlude on
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Interlude on
Viola, Piano
Sheetmusic to print
12 sheet music found
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1
Angels We Have Heard on High (Viola and Piano)
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Viola, Piano
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INTERMEDIATE
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Christmas
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Traditional French Christmas C
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John A
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Angels We Have Heard on High
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John A. Dempsey
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SheetMusicPlus
Piano,Viola - Level 3 - Digital Download SKU: A0.525049 Composed by Traditional French Christmas Carol. Arranged by John A. Dempsey. Christian,Christmas,...
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Piano,Viola - Level 3 - Digital Download SKU: A0.525049 Composed by Traditional French Christmas Carol. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. Score and part. 14 pages. John A. Dempsey #6625873. Published by John A. Dempsey (A0.525049). Arranged as a lively duet for viola and piano, this exultant arrangement of a traditional French Christmas carol contains variation in both the viola and piano parts as well as dynamic shading, embellishments and incidental music by Grieg, all adding to the joyful atmosphere of praise and thanksgiving. Gloria in excelsis Deo is Latin for Glory to God in the Highest. Recommended for Christmas plays, pageants and programs, Christmas concerts and holiday recitals as well as traditional Christmas church services and other seasonal worship events. Suggested worship uses: prelude, postlude, offertory, interlude, Christmas play overture and special music. Key: C major. 10 pages of music (that includes a separate two-page viola part).
$6.99
Angels We Have Heard on High (Trio for Clarinet, Viola and Piano)
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Viola, Piano
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INTERMEDIATE
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Sacred music
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Traditional French Christmas C
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John A
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Angels We Have Heard on High
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John A. Dempsey
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SheetMusicPlus
Small Ensemble B-Flat Clarinet,Piano,Viola - Level 3 - Digital Download SKU: A0.1116760 Composed by Traditional French Christmas Carol. Arranged by John ...
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Small Ensemble B-Flat Clarinet,Piano,Viola - Level 3 - Digital Download SKU: A0.1116760 Composed by Traditional French Christmas Carol. Arranged by John A. Dempsey. Christian,Christmas,Praise & Worship,Sacred,Traditional. Score and parts. 20 pages. John A. Dempsey #718415. Published by John A. Dempsey (A0.1116760). Arranged as a lively trio for Bb clarinet, viola and piano, this exultant arrangement of a traditional French Christmas carol contains variation in all three parts as well as dynamic shading, embellishments and incidental music by Grieg, all adding to the joyful atmosphere of praise and thanksgiving. Â Gloria in excelsis Deo is Latin for Glory to God in the Highest. Â Recommended for Christmas plays, pageants and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events. Â Suggested worship uses: prelude, postlude, offertory, interlude, Christmas play overture and special music. Â Key: C major. Â 16 pages of music (that includes separate two-page parts for clarinet and viola).
$11.99
Angels We Have Heard on High (Trio for Viola, Cello and Piano)
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Viola, Piano
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INTERMEDIATE
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Christmas
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Traditional French Christmas C
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John A
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Angels We Have Heard on High
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John A. Dempsey
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SheetMusicPlus
Small Ensemble Cello,Piano,Viola - Level 3 - Digital Download SKU: A0.525057 Composed by Traditional French Christmas Carol. Arranged by John A. Dempsey....
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Small Ensemble Cello,Piano,Viola - Level 3 - Digital Download SKU: A0.525057 Composed by Traditional French Christmas Carol. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. Score and parts. 20 pages. John A. Dempsey #6630033. Published by John A. Dempsey (A0.525057). Arranged as a lively trio for viola, cello and piano, this exultant arrangement of a traditional French Christmas carol contains variation in all three parts as well as dynamic shading, embellishments and incidental music by Grieg, all adding to the joyful, wondrous atmosphere of praise and thanksgiving. Gloria in excelsis Deo is Latin for Glory to God in the Highest. Recommended for Christmas plays, pageants and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events. Suggested worship uses: prelude, postlude, offertory, interlude, Christmas play overture and special music. Key: C major. 16 pages of music (that includes separate two-page parts for viola and cello).
$11.99
A Night In Tunisia
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Viola, Piano
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INTERMEDIATE
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Jazz
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Dizzy Gillespie
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Keith Terrett
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A Night In Tunisia
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Keith Terrett
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SheetMusicPlus
Piano,Viola - Level 3 - Digital Download SKU: A0.747027 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Scor...
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Piano,Viola - Level 3 - Digital Download SKU: A0.747027 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Score and part. 12 pages. Keith Terrett #5899685. Published by Keith Terrett (A0.747027). A great sounding arrangement of A Night in Tunisia arranged for Viola & Piano, Violists will love this!A jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
$8.99
Sonata in a Simple Scale for Viola and Piano
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Viola, Piano
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INTERMEDIATE/ADVANCED
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Contemporary
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Daniell Mattern
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Sonata in a Simple Scale for V
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Daniell Mattern
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SheetMusicPlus
Piano,Viola - Level 4 - Digital Download SKU: A0.1032818 Composed by Daniell Mattern. Contemporary. Score and part. 58 pages. Daniell Mattern #5721229. P...
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Piano,Viola - Level 4 - Digital Download SKU: A0.1032818 Composed by Daniell Mattern. Contemporary. Score and part. 58 pages. Daniell Mattern #5721229. Published by Daniell Mattern (A0.1032818). Sonata in a Simple Scale for Viola and PianoThe Simple Scale of the title is a series of alternating whole steps and half steps. There are three versions; any particular note will belong to two of the three. Thus, the two scales that include C go up either a whole step from C (C D Eb F F#…) or a half step (C C# D# E F#…); the third scale excludes C entirely (B C# D E F…). These scales allow for a variety of melodies, which often take on a modal character, and familiar chords, including major, minor, and diminished.Although the scale is simple, the Sonata is not for elementary players. The viola range goes to the C two octaves above middle C and there are occasional double and triple stops and stopped harmonics, and frequent meter changes. Also, the unusual scale does not fit the standard fingering patterns for either instrument. That said, the sonata is intended to be enjoyable for proficient, rather than virtuosic, players.In the introduction to the Sonata-Allegro movement, the viola explores motives and intervals, with subtle embellishment from the piano. These phrases build to a three-octave descending presentation of the simple scale; a trill then leads into the main theme. The piano sets up a jaunty accompaniment pattern, over which the viola plays the theme in measure-long segments. The second theme is a long, legato line in the viola that spans two octaves. The viola then sets up a two-measure ostinato, joined by a lumbering piano bass, before the piano treble floats on top with a melancholy closing theme. The development section plays mostly with the main theme, shifting meters as the two instruments engage in dialog. A bridging trill takes us into the recapitulation, but now the viola plays the jaunty accompaniment pattern, and the piano has the main theme. After the return of the second theme, varied in its accompaniment, the piano presents the ostinato of the closing theme, and the viola takes the melody, leading to a quiet and playful finish.In the second movement (Song), the piano begins a slow, rather dark theme, joined by the viola, and ending in a rising question that leads into the second section. Presented simply by the viola, this lilting 7/8 theme has a folk-song quality. It is repeated and embellished several times before the first theme returns, ending in a loud and angry exclamation.The Scherzo is a 6/8 whirlwind. The viola presents rapid repeated notes punctuated with three rising or falling notes; the piano enters gradually until both are giving a forceful statement. In the middle section, the viola sets up a whirling pattern with a drone, while the piano plays a dark version of the closing theme from the first movement. The first theme returns and the movement gallops to a rapid finish.The Rondo begins with an introduction that explores octaves and trills, leading into the main theme, with slightly dissonant 4/4 viola measures alternating with 7/8 answers in the piano. Bridging measures in 5/8 take us into a relaxed, waltz-like interlude of solo viola. A fast section with a touch of fugato follows, with the main theme presented in diminution by the viola at the end. This leads into a second interlude, this one exploring octaves, trills, and clusters in unmetered fragments that the instrumentalists play at their own tempos. The viola then emerges with a confident new theme, joined after a while by the piano. The main theme then returns in a rollicking 3/4 version that brings the piece to a close.
$8.00
Parodia Schumanniana (2018) for oboe, viola and piano
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Viola, Piano
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Parodia Schumanniana
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Thomas Oboe Lee
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Viola - Level 4 - Digital Download SKU: A0.869566 Composed by Thomas Oboe Lee. 20th Century,Contempo...
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Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Viola - Level 4 - Digital Download SKU: A0.869566 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. Score and parts. 32 pages. Thomas Oboe Lee #3471445. Published by Thomas Oboe Lee (A0.869566). Sally Pinkas and I go way back. She and Evan Hirsch have performed my music on many occasions. In 2002 they recorded my Visconti Sforza Tarot Cards ... Twenty Two Salon Pieces for Two Pianos on Arsis Audio Records.A year ago Sally asked me to write a new work for her trio Ensemble Schumann. For a while I had no idea where to begin. But then the name of the group inspired the idea of taking Robert Schumann's music as a point of departure for the trio. In my search for a title, I came upon a cactus called Parodia Schumanniana. Perfect! That is what I will call my trio - Parodia S. (2018).The work is in five movements.1. Presto - Trio - Presto2. Largo3. Adagio4. Interlude - Molto AllegroAudio link: https://thomasoboelee.bandcamp.com/album/parodia-schumanniana-2018-for-oboe-viola-and-pianoYouTube scrolling video link: https://youtu.be/S083rnbrBTs.
$9.99
My Shepherd Will Supply My Need (Psalm 23): Viola and Piano
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Viola, Piano
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INTERMEDIATE
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Sacred music
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Isaac Watts, Maurice Ravel
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John A
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My Shepherd Will Supply My Nee
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John A. Dempsey
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SheetMusicPlus
Piano,Viola - Level 3 - Digital Download SKU: A0.524423 Composed by Isaac Watts, Maurice Ravel. Arranged by John A. Dempsey. Christian,Folk,Praise & Wors...
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Piano,Viola - Level 3 - Digital Download SKU: A0.524423 Composed by Isaac Watts, Maurice Ravel. Arranged by John A. Dempsey. Christian,Folk,Praise & Worship,Sacred,Traditional. Score and part. 14 pages. John A. Dempsey #5731057. Published by John A. Dempsey (A0.524423). In this duet for viola and piano, the lush, gorgeous harmonies of Maurice Ravel have been inlaid into the solid stonework of Isaac Watts' inspirational hymn based on Psalm 23, My Shepherd Will Supply My Need. Recommended for traditional church services and other worship events, as a prelude, postlude, an offertory, interlude and special music.  Also popular as a performance piece for concerts and recitals.  10 pages of music (that includes a separate two-page viola part).  Key: G major.
$6.99
Rise Up, Shepherd and Follow (Viola and Piano)
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Viola, Piano
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INTERMEDIATE
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Gospel/Spiritual
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Traditional Spiritual
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John A
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Rise Up, Shepherd and Follow
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John A. Dempsey
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SheetMusicPlus
Piano,Viola - Level 3 - Digital Download SKU: A0.524940 Composed by Traditional Spiritual. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacre...
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Piano,Viola - Level 3 - Digital Download SKU: A0.524940 Composed by Traditional Spiritual. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Spiritual. Score and part. 13 pages. John A. Dempsey #6498777. Published by John A. Dempsey (A0.524940). A duet for viola and piano, Rise Up, Shepherd and Follow has been reimagined to accentuate the message of hope, everlasting joy and intense emotion that's at the heart of this tuneful classic celebrating Jesus' birth.  Recommended for Christmas plays, pageants and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events, as a prelude, postlude, an offertory, interlude, Christmas play overture, silent prayer accompaniment and special music.  Key: A minor.  9 pages of music (that includes a separate two-page viola part).Viola Level: Intermediate.  Piano Level: Late Intermediate      There's a star in the East on Christmas morn,   Rise up shepherd, and follow   It will lead to the place where the Christ was born   Rise up, shepherd and follow.   Follow, follow   Rise up, shepherd and follow   Follow the Star of Bethlehem   Rise up, shepherd and follow.    Â
$6.99
Autumn Hymn (Ensemble Edition)
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Viola, Piano
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EASY
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Phillip Arthur Simmons
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Autumn Hymn
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PAS Music Studio Publishing
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SheetMusicPlus
Small Ensemble Cello,Flute,Piano,Viola - Level 2 - Digital Download SKU: A0.1080693 Composed by Phillip Arthur Simmons. Classical,Folk,Holiday,Sacred. Sc...
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Small Ensemble Cello,Flute,Piano,Viola - Level 2 - Digital Download SKU: A0.1080693 Composed by Phillip Arthur Simmons. Classical,Folk,Holiday,Sacred. Score and parts. 18 pages. PAS Music Studio Publishing #684915. Published by PAS Music Studio Publishing (A0.1080693). This brief musical interlude is based on the poem 'Autumn' by Henry Wadsworth Longfellow. There are two versions available - one for solo piano and one for solo flute with piano trio.
$9.99
Rise Up, Shepherd and Follow (Trio for Viola, Cello and Piano)
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Viola, Piano
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INTERMEDIATE
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Gospel/Spiritual
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Traditional Spiritual
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John A
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Rise Up, Shepherd and Follow
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John A. Dempsey
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SheetMusicPlus
Small Ensemble Cello,Piano,Viola - Level 3 - Digital Download SKU: A0.524978 Composed by Traditional Spiritual. Arranged by John A. Dempsey. Christian,Ch...
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Small Ensemble Cello,Piano,Viola - Level 3 - Digital Download SKU: A0.524978 Composed by Traditional Spiritual. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Spiritual. Score and parts. 18 pages. John A. Dempsey #6560297. Published by John A. Dempsey (A0.524978). Reimagined as a trio for viola, cello and piano, this arrangement of Rise Up, Shepherd and Follow accentuates the dramatic message of hope, everlasting joy and intense emotion that's at the heart of this tuneful, traditional spiritual celebrating Jesus' birth.  Recommended for Christmas plays, pageants and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events, as a prelude, postlude, an offertory, interlude, Christmas play overture and special music.  Key: B minor.  14 pages of music (that includes separate two-page parts for viola and cello).  Viola/Cello Level: Intermediate.  Piano Level: Late Intermediate   There's a star in the East on Christmas morn,   Rise up shepherd, and follow   It will lead to the place where the Christ was born   Rise up, shepherd and follow.   Follow, follow   Rise up, shepherd and follow   Follow the Star of Bethlehem   Rise up, shepherd and follow.
$11.99
Korsakov: Flight of the Bumblebee for Viola & Piano
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Viola, Piano
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ADVANCED
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Classical
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Contemporary
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Nikolay Andreyevich Rimsky-Kor
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James M
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Korsakov: Flight of the Bumble
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 5 - Digital Download SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instruction...
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Piano,Viola - Level 5 - Digital Download SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95
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