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Before And After Taken
Violin
Sheetmusic to print
2 sheet music found
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1
Toccata
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Violin
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ADVANCED
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Contemporary
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Graeme Culpepper
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Toccata
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Graeme Culpepper
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SheetMusicPlus
Violin Solo - Level 5 - Digital Download SKU: A0.1028165 Composed by Graeme Culpepper. Contemporary. 4 pages. Graeme Culpepper #3690745. Published by Gra...
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Violin Solo - Level 5 - Digital Download SKU: A0.1028165 Composed by Graeme Culpepper. Contemporary. 4 pages. Graeme Culpepper #3690745. Published by Graeme Culpepper (A0.1028165). Toccata aims to showcase the performer’s virtuosity in a numerous amount of ways. The piece opens with a sixthteenth note pattern that is the core of the work, and expands upon the pattern implementing various harmonic changes throughout. In the middle of the piece a theme is presented in 4/4 time which gives way to high scalar runs which is interrupted by the beginning pattern and repeated over again. After this, there is a return of the beginning idea, which is taken through several different keys until arriving in G minor. At the end of the piece the theme from the middle is presented in its full glory, and in 3/4. The piece closes with a G minor chord being built from the bottom up and added portamento before the final chord.
$9.25
Choros No 1
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Violin
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ADVANCED
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Contemporary
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Heitor Villa Lobos
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Inacio Saldanha
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Choros No 1
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Inacio Saldanha
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SheetMusicPlus
Violin Solo - Level 5 - Digital Download SKU: A0.798120 Composed by Heitor Villa Lobos. Arranged by Inacio Saldanha. Contemporary. 3 pages. Inacio Saldan...
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Violin Solo - Level 5 - Digital Download SKU: A0.798120 Composed by Heitor Villa Lobos. Arranged by Inacio Saldanha. Contemporary. 3 pages. Inacio Saldanha #6318935. Published by Inacio Saldanha (A0.798120). Villa-Lobos composed Chôros No. 1 in Rio de Janeiro in 1920, originally publishing it under the title Chôro tÃpico, then Chôro tÃpico brasileiro. The title is taken from an improvisational genre of Brazilian instrumental popular music that originated in Rio de Janeiro in the nineteenth century. The Portuguese word choro, means cry or lament, though most music of this type is far from being sorrowful. Four years after composing this work, at the time of his first visit to Paris, he decided to make it part of an extended cycle of works collectively titled Chôros, which eventually included fourteen numbered compositions, plus an Introduction aux chôros (Introdução aos chôros): Ouverture, for guitar and orchestra, designed to be played before a complete performance of the cycle, and Chôros bis, a two-movement duo for violin and cello, considered as a sort of encore piece. A Quintet (em forma de chôros), for five woodwind instruments (1928) is sometimes considered as related.In the context of the larger cycle, Chôros No. 1 is like the essence, the embryo, the psychological model that will be developed technically in the conception of all the Chôros (Villa-Lobos 1972, 210).The score of Chôros No. 1 is dedicated to Ernesto Nazareth, and a recording of it made by the composer lasts just under four minutes. Unlike the successor works, there is no attempt here to synthesize different aspects of Brazilian music into a stylistic montage. Instead, it employs the patterns, figurations, and simple structure characteristic of the improvised music of such celebrated chorões of the late-nineteenth and early twentieth centuries as Zequinha de Abreu, Quincas Laranjeiras [pt], Chiquinha Gonzaga, and Catulo da Paixão Cearense [pt] (Wright 1992, 62) This simplicity and the beauty of its composition have made it a favourite with professional guitarists (Appleby 2002, 80).Originally for Guitar, adapted for Solo Violin by Inacio Saldanha. Key of E minor. Advanced.
$7.99
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