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Étude For Harpsichord
SheetMusicPlus
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Étude For Harpsichord
Harpsichord
Harpsichord,Instrumental Solo - Digital Download SKU: A0.1082884 By Jordan Brant. B…
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Harpsichord,Instrumental Solo - Digital Download SKU: A0.1082884 By Jordan Brant. By Jordan Brant. Arranged by Jordan Brant. Classical. Individual part. 4 pages. Jordan Brant #687090. Published by Jordan Brant (A0.1082884). Étude For Harpsichord.
$1.99
1.83 €
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Harpsichord
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Jordan Brant
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Étude For Harpsichord
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Jordan Brant
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SheetMusicPlus
JESU, JOY OF MAN'S DESIRING by Bach - easy version for Harpsichord and chords
Harpsichord
Harpsichord - Level 1 - Digital Download SKU: A0.964508 Composed by Johann Sebastia…
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Harpsichord - Level 1 - Digital Download SKU: A0.964508 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score. 2 pages. Leyandder Trustworthy #6331223. Published by Leyandder Trustworthy (A0.964508). Jesu, Joy of Man's Desiring is a popular piece of choral music. It was composed by Johann Sebastian Bach. It is the 10th movement of the cantata Herz und Mund und Tat und Leben. It was written during Bach's first year in Leipzig, Germany. Bach did not compose the melody. That was written by Johann Schop. Bach only harmonized and orchestrated Schop's melody. A transcription of Jesu was done by English pianist Myra Hess (1890-1965), and was published in 1926 for solo piano.In 1934, Hess' version was adapted for piano duet. British organist Peter Hurford made a transcription of Jesu for organ. Today, Bach's piece is often performed at weddings and funerals. Bach wrote the piece for voices with trumpet, oboes, strings and continuo. Jesu, Joy of Man's Desiring is one of Bach's most enduring pieces of music.The present version is a facilitated reduction of the theme where it is soloed by Harpsichord and chords. Ideal for young music students in the area, if you don't have a teacher to play along, search for item number: S0.1006121, here is an audio playback so you can play and study with ease and fluidity.
$4.99
4.58 €
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Harpsichord
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Johann Sebastian Bach
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JESU, JOY OF MAN'S DESIRING by Bach - easy version for Harpsichord and chords
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Leyandder Trustworthy
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SheetMusicPlus
Ancient Dances for harpsichord
Harpsichord
Harpsichord - Level 3 - Digital Download SKU: A0.958458 Composed by Joseph Dillon F…
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Harpsichord - Level 3 - Digital Download SKU: A0.958458 Composed by Joseph Dillon Ford. 20th Century,Baroque. Score. 26 pages. David Warin Solomons2 #3690729. Published by David Warin Solomons2 (A0.958458). The Ancient Dances might be described as compositional études for keyboard (harpsichord, piano, synthesizer) in Elizabethan/Jacobean style, as they summon to mind similar works for lute and virginals written in England during the late sixteenth and early seventeenth centuries by such composers as John Dowland, Anthony Holborne, William Byrd, and John Bull. It would be more accurate, however, to consider the pieces in the collection--each of which bears the distinctive stamp of Ford's individual creativity--as fresh, musically mature essays about one of the most artistically brilliant eras in Western history.
$16.00
14.69 €
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Harpsichord
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Joseph Dillon Ford
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Ancient Dances for harpsichord
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David Warin Solomons2
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SheetMusicPlus
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, bari
Saxophone Quartet: 4 saxophones
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Ten…
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532734 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 21 pages. Musik Fabrik Music Publishing #1917. Published by Musik Fabrik Music Publishing (A0.532734). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
15.56 €
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Saxophone Quartet: 4 saxophones
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Johann Sebastian Bach
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Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, bari
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, sopr
Saxophone Quartet: 4 saxophones
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Ten…
(+)
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532735 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 24 pages. Musik Fabrik Music Publishing #1921. Published by Musik Fabrik Music Publishing (A0.532735). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
15.56 €
#
Saxophone Quartet: 4 saxophones
#
Johann Sebastian Bach
#
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, sopr
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, alto
Saxophone Quartet: 4 saxophones
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Ten…
(+)
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532733 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 22 pages. Musik Fabrik Music Publishing #1919. Published by Musik Fabrik Music Publishing (A0.532733). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
15.56 €
#
Saxophone Quartet: 4 saxophones
#
Johann Sebastian Bach
#
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, alto
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, teno
Saxophone Quartet: 4 saxophones
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Ten…
(+)
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532736 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 21 pages. Musik Fabrik Music Publishing #1923. Published by Musik Fabrik Music Publishing (A0.532736). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
15.56 €
#
Saxophone Quartet: 4 saxophones
#
Johann Sebastian Bach
#
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, teno
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.03 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Three-Part Inventions for Trombone Trio Ensemble
3 Trombones (trio)
Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.811269 Composed by Joh…
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Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.811269 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque,Classical. Score and parts. 80 pages. Gordon Cherry #6744877. Published by Gordon Cherry (A0.811269). Bach's Three-Part Inventions, BWV 787-801 (also known as Sinfonias) were composed in Köthen, Germany around the year 1720 for harpsichord. Each work is characterized by the contrapuntal working of a single melodic line. The fifteen short pieces cover eight major and seven minor keys.Bach included with the collection of the Two and Three-Part Inventions these instructions to students of music:Forthright instruction, wherewith lovers of the clavier, especially those desirous of learning, are shown in a clear way not only 1) to learn to play two voices clearly, but also after further progress 2) to deal correctly and well with three obbligato parts, moreover at the same time to obtain not only good ideas, but also to carry them out well, but most of all to achieve a cantabile style of playing, and thereby to acquire a strong foretaste of composition.Ralph Sauer has brilliantly arranged these great works for Three Trombones in one single collection (he first arranged these in the early 1970s in several volumes with different publishers and are now out of print) and is appropriate for advanced performers.
$32.50
29.84 €
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3 Trombones (trio)
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Johann Sebastian Bach
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Three-Part Inventions for Trombone Trio Ensemble
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Gordon Cherry
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SheetMusicPlus
Three-Part Inventions for Three Euphoniums
3 Euphoniums
Brass Ensemble Euphonium - Level 5 - Digital Download SKU: A0.726704 Composed by Jo…
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Brass Ensemble Euphonium - Level 5 - Digital Download SKU: A0.726704 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque,Classical. Score and parts. 80 pages. Gordon Cherry #334978. Published by Gordon Cherry (A0.726704). Bach's Three-Part Inventions, BWV 787-801 (also known as Sinfonias) were composed in Köthen, Germany around the year 1720 for harpsichord. Each work is characterized by the contrapuntal working of a single melodic line. The fifteen short pieces cover eight major and seven minor keys. Bach included with the collection of the Two and Three-Part Inventions these instructions to students of music: Forthright instruction, wherewith lovers of the clavier, especially those desirous of learning, are shown in a clear way not only 1) to learn to play two voices clearly, but also after further progress 2) to deal correctly and well with three obbligato parts, moreover at the same time to obtain not only good ideas, but also to carry them out well, but most of all to achieve a cantabile style of playing, and thereby to acquire a strong foretaste of composition. Ralph Sauer has newly arranged these fifteen small masterpieces for three euphoniums in one single collection. which is appropriate for advanced performers.
$32.50
29.84 €
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3 Euphoniums
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Johann Sebastian Bach
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Three-Part Inventions for Three Euphoniums
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Gordon Cherry
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SheetMusicPlus
Selection of every Minuets From Notebook for Anna Magdalena Bach
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1342549 Composed by Christian Petzo…
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Piano Solo - Level 3 - Digital Download SKU: A0.1342549 Composed by Christian Petzold, Georg Bohm, Johann Sebastian Bach, and W. F. Bach. Arranged by Alex E. Baroque,Chamber,Classical,Medieval,Traditional. Score. 41 pages. Müller Publishing company #928047. Published by Müller Publishing company (A0.1342549). Selection of every Minuets From Notebook for Anna Magdalena BachI am pleased to present you all with a very special opportunity to acquire a treasure from Johann Sebastian Bach's musical works. It is the anthology Selection of Every Minuets from Notebook for Anna Magdalena Bach, the result of my remarkable research and editing work.  This publication brings together the minuets written for harpsichord or clavichord contained in Bach's original handwritten notebooks dated from 1722 and 1725. These pieces were created by Bach as musical gifts for his wife Anna Magdalena, likely to be enjoyed during her domestic studies of the harpsichord or clavichord.I myself have diligently carried out the careful work of researching, transcribing and editing this important repertoire, faithfully preserving the notation and style of the era. In this way, musicians and scholars will be able to enjoy the works in their original form, without any adaptations.We now have in a single, easily legible edition, all pieces organized with great care in the same sequence as in the manuscripts.Whether for the study of the master's style or simply for enjoyment, this anthology will preserve under my curation Bach's most intimate creations in a practical and accessible way.I am pleased to announce that in addition to the complete anthology, individual score editions from the collection are also available from our profile on the Müller Publishing company website. I guarantee that students and professors alike will greatly value the content's wealth of teachings.I warmly invite you all to acquire your copy - a gift to yourself and to music history. It will be an investment that will enhance any collection.I hope to count on your support for this endeavor. I will be grateful for any feedback or suggestions to further improve this project.
$10.00
9.18 €
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Piano solo
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Christian Petzold, Georg Bohm, Johann Sebastian Bach, and W
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Selection of every Minuets From Notebook for Anna Magdalena Bach
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Müller Publishing company
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SheetMusicPlus
Couperin, F. - Le Petit Rien for Two Violas
2 Violas (duet)
Viola Duet Viola - Level 2 - Digital Download SKU: A0.540455 Composed by F. Couperi…
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Viola Duet Viola - Level 2 - Digital Download SKU: A0.540455 Composed by F. Couperin. Arranged by Linda M. Scott. Baroque. Score. 4 pages. Linda M Scott #4287667. Published by Linda M Scott (A0.540455). François Couperin (1668 – 11 1733) was a French Baroque composer, organist and harpsichordist.This piece is based on a work originally composed for harpsichord. An easy, accessible baroque duo for two violas. Ideal for advanced beginners or intermediate students, adult amateurs and performers.
$5.99
5.5 €
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2 Violas (duet)
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F
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Couperin, F. - Le Petit Rien for Two Violas
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Linda M Scott
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SheetMusicPlus
Couperin, F. - Le Petit Rien for Two Violins
2 Violins (duet)
Violin Duet Violin - Level 2 - Digital Download SKU: A0.540456 Composed by F. Coupe…
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Violin Duet Violin - Level 2 - Digital Download SKU: A0.540456 Composed by F. Couperin. Arranged by Linda M. Scott. Baroque. 4 pages. Linda M Scott #4287669. Published by Linda M Scott (A0.540456). François Couperin (1668 – 11 1733) was a French Baroque composer, organist and harpsichordist.This piece is based on a work originally composed for harpsichord. An easy, accessible baroque duo for two violins. Ideal for advanced beginners or intermediate students, adult amateurs and performers.
$5.99
5.5 €
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2 Violins (duet)
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F
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Couperin, F. - Le Petit Rien for Two Violins
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Linda M Scott
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SheetMusicPlus
Couperin, F. - Laa Petit RIen for Two Cellos
2 Cellos (duet)
Cello Duet Cello - Level 2 - Digital Download SKU: A0.540454 Composed by F. Couperi…
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Cello Duet Cello - Level 2 - Digital Download SKU: A0.540454 Composed by F. Couperin. Arranged by Linda M. Scott. Baroque. Score. 4 pages. Linda M Scott #4287663. Published by Linda M Scott (A0.540454). François Couperin (1668 – 11 1733) was a French Baroque composer, organist and harpsichordist.This piece is based on a work originally composed for harpsichord. An easy, accessible baroque duo for two cellos. Ideal for advanced beginners or intermediate students, adult amateurs and performers.
$5.99
5.5 €
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2 Cellos (duet)
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F
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Couperin, F. - Laa Petit RIen for Two Cellos
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Linda M Scott
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SheetMusicPlus
Couperin, F. - Le Petit Rien for Violin and Cello
Violin, Cello (duet)
Instrumental Duet Cello,Instrumental Duet,Violin - Level 2 - Digital Download SKU: A0.5…
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Instrumental Duet Cello,Instrumental Duet,Violin - Level 2 - Digital Download SKU: A0.540457 Composed by F. Couperin. Arranged by Linda Scott. Baroque. Score and parts. 4 pages. Linda M Scott #4287675. Published by Linda M Scott (A0.540457). François Couperin (1668 – 11 1733) was a French Baroque composer, organist and harpsichordist.This piece is based on a work originally composed for harpsichord. An easy, accessible baroque duo for violin and cello. Ideal for advanced beginners or intermediate students, adult amateurs and performers.
$5.99
5.5 €
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Violin, Cello (duet)
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F
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Couperin, F. - Le Petit Rien for Violin and Cello
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Linda M Scott
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SheetMusicPlus
Couperin, F., - Le Petit Rien for Violin and Viola
Violin, Viola (duet)
Instrumental Duet Instrumental Duet,Viola,Violin - Level 2 - Digital Download SKU: A0.5…
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Instrumental Duet Instrumental Duet,Viola,Violin - Level 2 - Digital Download SKU: A0.540458 Composed by F. Couperin. Arranged by Linda M. Scott. Baroque. Score and parts. 4 pages. Linda M Scott #4287679. Published by Linda M Scott (A0.540458). François Couperin (1668 – 11 1733) was a French Baroque composer, organist and harpsichordist.This piece is based on a work originally composed for harpsichord. An easy, accessible baroque duo for two violas. Ideal for advanced beginners or intermediate students, adult amateurs and performers.
$5.99
5.5 €
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Violin, Viola (duet)
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F
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Couperin, F., - Le Petit Rien for Violin and Viola
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Linda M Scott
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SheetMusicPlus
Rachmaninoff - Etude-Tableau in G minor op. 33 no. 7 arr. for Piano and Violin
Violin and Piano
Piano,Violin - Level 5 - Digital Download SKU: A0.799602 Composed by Sergei Rachman…
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Piano,Violin - Level 5 - Digital Download SKU: A0.799602 Composed by Sergei Rachmaninoff. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages. Nicole Elyse DiPaolo #3125333. Published by Nicole Elyse DiPaolo (A0.799602). This is my own arrangement of one of my favorite Rachmaninoff pieces, his Etude-Tableau in G minor from the op. 33 set (labeled no. 5 or no. 7 in the set, depending on whom you ask), written in 1911. Suitable for early advanced players, this arrangement is a great addition to your next recital program. The violin part contains numerous parallel sixths, making this a fruitful study in double-stopped 6ths for the high-school or college-age violinist. In addition, the piano accompaniment might also work well on the harp.Both the score and the violin part are included with your purchase. About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo is a versatile pianist, composer, and scholar currently based in Bloomington, Indiana. She holds a B.Mus in Music Theory from the University of Michigan-Ann Arbor, where she studied piano under Michele Cooker and Louis Nagel; she also studied composition with Bright Sheng and basso continuo/harpsichord accompaniment with Edward Parmentier. In 2006 and 2007, Nicole appeared as a concerto soloist with the Ambassador Chamber Players, featuring works of J. S. Bach and Mozart alongside two performances of her own Piano Trio in C minor. Following her graduation from Michigan, Nicole completed an MM in Music Theory from Indiana University-Bloomington, where she has recently become a PhD candidate in the same field; her dissertation research will explore relationships between selected early partimenti (instructional sketches used by Italian composition teachers) and George Frideric Handel’s compositional techniques. Currently, Nicole is a sought-after private instructor of piano, music theory, and composition on the IU campus, where she is also an active mostly-vocal accompanist. Nicole continues to enjoy musical partnerships with students of nearly every current IU voice department faculty member (and she unashamedly absorbs and borrows teaching/coaching/performing tips from all these professors). In addition, she has taken French and German diction courses with Prof. Gary Arvin. Notable recent engagements include the 2016 and 2017 National Society of Arts and Letters Vocal Competitions (multiple entrants); the Opera Night at North benefit concert with students of IU's top-ranked opera program (among them Accidental Tenor Andrew Lunsford); and two long-term cruise ship performing contracts with violinist Amy Schlicher as the Duo del Mare.When not working on one of her many concurrent musical projects, Nicole might be found maintaining The Collaborative Pianists’ Community on Facebook, cuddling the nearest dog, looking for opportunities to maintain her Spanish and Italian language skills, and raising and releasing monarch butterflies. To learn more about Nicole’s many and varied performing, teaching, research, and publishing pursuits, please visit her website at http://ndipaolo.musicaneo.com .
$6.95
6.38 €
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Violin and Piano
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Sergei Rachmaninoff
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Rachmaninoff - Etude-Tableau in G minor op. 33 no. 7 arr. for Piano and Violin
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Nicole Elyse DiPaolo
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SheetMusicPlus
The Joker is Tired (Short Interpretation Etude for Piano/ Harpschord )
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.1020648 Composed by Emanuel Fróe…
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Piano Solo - Level 2 - Digital Download SKU: A0.1020648 Composed by Emanuel Fróes. Baroque,Contemporary. Score. 2 pages. Emanuel M. Froes #6416657. Published by Emanuel M. Froes (A0.1020648). Perfect as etude and prelude for young students, fun and challenging interpretation.
$2.00
1.84 €
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Piano solo
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Emanuel Fróes
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The Joker is Tired
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Emanuel M. Froes
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SheetMusicPlus
FRESCOBALDI Girolamo: O mio cor, dolce mia vita, aria, - Voice and Piano (B flat major)
Vocal duet
Voice Duet Voice - Level 3 - Digital Download SKU: A0.868728 Composed by Girolamo F…
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Voice Duet Voice - Level 3 - Digital Download SKU: A0.868728 Composed by Girolamo FRESCOBALDI (1583 – 1644). Arranged by Sergei LEONOV. Baroque,Concert,Instructional,Standards. 5 pages. Really Good Music, LLC. #4409103. Published by Really Good Music, LLC. (A0.868728). O mio cor, dolce mia vita by Girolamo FRESCOBALDI (1583 – 1644) was realized by Sergei Leonov for voice and keyboard (preferably for harpsichord). This aria is one of the best known and frequently performed vocal compositions, taken from Secondo libro d’arie musicali (Florence, 1630). The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of B flat major (D4 – F5) for high voice.
$5.95
5.46 €
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Vocal duet
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Girolamo FRESCOBALDI
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FRESCOBALDI Girolamo: O mio cor, dolce mia vita, aria, - Voice and Piano
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Really Good Music, LLC.
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SheetMusicPlus
FRESCOBALDI Girolamo: O mio cor, dolce mia vita, aria, - Voice and Piano (G major)
Choral 2-part
Choral Choir (2-Part) - Level 3 - Digital Download SKU: A0.868729 Composed by Girol…
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Choral Choir (2-Part) - Level 3 - Digital Download SKU: A0.868729 Composed by Girolamo FRESCOBALDI (1583 – 1644). Arranged by Sergei LEONOV. Baroque,Concert,Instructional,Standards. Octavo. 5 pages. Really Good Music, LLC. #4409107. Published by Really Good Music, LLC. (A0.868729). O mio cor, dolce mia vita by Girolamo FRESCOBALDI (1583 – 1644) was realized by Sergei Leonov for voice and keyboard (preferably for harpsichord). This aria is one of the best known and frequently performed vocal compositions, taken from Secondo libro d’arie musicali (Florence, 1630). The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G major (B3 – D5) for low voice.
$5.95
5.46 €
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Choral 2-part
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Girolamo FRESCOBALDI
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FRESCOBALDI Girolamo: O mio cor, dolce mia vita, aria, - Voice and Piano
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Really Good Music, LLC.
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SheetMusicPlus
Intermediate Music for Three, Volume 1, Part 1 Alto Sax in Eb 52115DD
Small Ensemble - Level 3 - Digital Download SKU: A0.530268 Composed by Various. Arr…
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Small Ensemble - Level 3 - Digital Download SKU: A0.530268 Composed by Various. Arranged by Daniel Kelley. 20th Century,Classical,Instructional,Romantic Period,Standards. Score and parts. 44 pages. Last Resort Music Publishing #3221033. Published by Last Resort Music Publishing (A0.530268). Part 1 for Eb Alto Saxophone ~ An incredible collection of 35 arrangements for strings, woodwinds, saxophones and piano - these mix and match trios allow the performer to pick the instrumentation. Includes works by Beethoven, Chopin, Saint-Saens, Tchaikovsky and more! A versatile must-have for any musician, Intermediate Music for Three is perfect for the blossoming musician and is appropriate for recitals, concerts, and any chamber music gatherings. Intermediate Music for Three progresses to the same difficulty level as the Music for Three Series. Parts are available separately or may be purchased as sets. The keyboard/guitar part encompasses both parts 2 and 3. Therefore, the arrangements could be played as a piano trio, or an entire trio could play with a pianist - as long as Part 1 is being played. 3 Volumes are available. Table of ContentsAllegro (Bach) Lento Affettuoso (Bach) Bagatelle from Bagatelles, Op. 119 #4 (Beethoven) Ecossaise from Ecossaise in G (Beethoven) Ecossaise in Eb from Six Ecossaises, #1 (Beethoven) Symphony #7 in A Major, Theme from Second Movement (Beethoven) Etude from Etude in E Major, Op. 10 #3 (Chopin) School Days When We Were A Couple Of Kids (Edwards, Gus & Will Cobb) Norwegian Dance Op. 35 #2 (Grieg) Fughette in C (Handel) Fugue in D (Handel) The Water Music Suite in G, 4 movements (Handel) Toy Symphony, 3 Movements (Haydn)Andantino from Andantino in Eb, K 236 (Mozart) Der Vogelfanger Bin Ich Ja - Papageno's Aria from The Magic Flute (Mozart) Hopak from The Fair at Sorochinsk (Mussorgsky) Shine On, Harvest Moon (Norworth & Bayes-Norworth) Take Me Out To The Ball Game (Norworth & Von Tilzer) Minuet in G from Op. 14 #1 (Paderewski) Fossils from Carnival of the AnimalsI (Saint-Saens) Soldier's March from Album for the Young, Op. 39 #2 (Schumann) Song of Spring from Album for the Young, Op. 68 #15 (Schumann) Valse Allemande from Carnaval, Op. 9 #16 (Schumann) Annie Laurie (Scottish Folk Song) Polka Marianka, komm und tanz from Die Fledermaus (Strauss) Radetzky March, Op. 228 (Strauss) Fantasie from Fantasias from Harpsichord, #14 (Telemann) Italian Song from Album for the Young, Op. 39 #15 (Tschaikovsky) Polka from Album for the Young, Op. 39 #2 (Tschaikovsky) Russian Song from Album for the Young, Op. 39 #11 (Tschaikovsky)www.lastresortmusic.com Visit our website for more information!
$20.00
18.37 €
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Various
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(Beethoven)
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Intermediate Music for Three, Volume 1, Part 1 Alto Sax in Eb 52115DD
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Last Resort Music Publishing
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SheetMusicPlus
Intermediate Music for Three, Volume 1, Part 2 Tenor Sax in Bb 52125DD
Level 3 - Digital Download SKU: A0.530269 Composed by Various. Arranged by Daniel K…
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Level 3 - Digital Download SKU: A0.530269 Composed by Various. Arranged by Daniel Kelley. 20th Century,Classical,Instructional,Romantic Period,Standards. 44 pages. Last Resort Music Publishing #3221035. Published by Last Resort Music Publishing (A0.530269). Part 2 for Bb Tenor Sax An incredible collection of 35 arrangements for strings, woodwinds, saxophones and piano - these mix and match trios allow the performer to pick the instrumentation. Includes works by Beethoven, Chopin, Saint-Saens, Tchaikovsky and more! A versatile must-have for any musician, Intermediate Music for Three is perfect for the blossoming musician and is appropriate for recitals, concerts, and any chamber music gatherings. Intermediate Music for Three progresses to the same difficulty level as the Music for Three Series. Parts are available separately or may be purchased as sets. The keyboard/guitar part encompasses both parts 2 and 3. Therefore, the arrangements could be played as a piano trio, or an entire trio could play with a pianist - as long as Part 1 is being played. 3 Volumes are available. Table of ContentsAllegro (Bach) Lento Affettuoso (Bach) Bagatelle from Bagatelles, Op. 119 #4 (Beethoven) Ecossaise from Ecossaise in G (Beethoven) Ecossaise in Eb from Six Ecossaises, #1 (Beethoven) Symphony #7 in A Major, Theme from Second Movement (Beethoven) Etude from Etude in E Major, Op. 10 #3 (Chopin) School Days When We Were A Couple Of Kids (Edwards, Gus & Will Cobb) Norwegian Dance Op. 35 #2 (Grieg) Fughette in C (Handel) Fugue in D (Handel)  The Water Music Suite in G, 4 movements (Handel) Toy Symphony, 3 Movements (Haydn)Andantino from Andantino in Eb, K 236 (Mozart) Der Vogelfanger Bin Ich Ja - Papageno's Aria from The Magic Flute (Mozart) Hopak from The Fair at Sorochinsk (Mussorgsky) Shine On, Harvest Moon (Norworth & Bayes-Norworth) Take Me Out To The Ball Game (Norworth & Von Tilzer) Minuet in G from Op. 14 #1 (Paderewski) Fossils from Carnival of the AnimalsI  (Saint-Saens) Soldier's March from Album for the Young, Op. 39 #2 (Schumann) Song of Spring from Album for the Young, Op. 68 #15 (Schumann) Valse Allemande from Carnaval, Op. 9 #16 (Schumann) Annie Laurie (Scottish Folk Song) Polka Marianka, komm und tanz from Die Fledermaus (Strauss) Radetzky March, Op. 228 (Strauss) Fantasie from Fantasias from Harpsichord, #14 (Telemann) Italian Song from Album for the Young, Op. 39 #15 (Tschaikovsky) Polka from Album for the Young, Op. 39 #2 (Tschaikovsky) Russian Song from Album for the Young, Op. 39 #11 (Tschaikovsky)www.lastresortmusic.com Visit our website for more information!
$20.00
18.37 €
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Various
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Intermediate Music for Three, Volume 1, Part 2 Tenor Sax in Bb 52125DD
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Last Resort Music Publishing
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SheetMusicPlus
Les Barricades Mystérieuses for two clarinets
2 Clarinets (duet)
Clarinet Duet Clarinet - Level 3 - Digital Download SKU: A0.759709 Composed by Fran…
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Clarinet Duet Clarinet - Level 3 - Digital Download SKU: A0.759709 Composed by Francois Couperin. Arranged by Antonio Livio Spaltro. Baroque,Concert,Standards. 2 scores. 12 pages. Antonio Livio Spaltro #4288657. Published by Antonio Livio Spaltro (A0.759709). Clarinet duet sheet music appropriate for students and for repertoire.François Couperin composed Les Barricades Mystérieuses for harpsichord in 1717.Music duration: 3 minutes.For further information and arrangement requests contact me on my site: http://antoniospaltro.itBrowse my catalogue: https://www.sheetmusicplus.com/publishers/antonio-livio-spaltro/9311
$2.99
2.75 €
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2 Clarinets (duet)
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Francois Couperin
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Les Barricades Mystérieuses for two clarinets
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Antonio Livio Spaltro
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SheetMusicPlus
Les Barricades Mystérieuses for Cello Duet
2 Cellos (duet)
Cello Duet Cello - Level 3 - Digital Download SKU: A0.759714 Composed by Francois C…
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Cello Duet Cello - Level 3 - Digital Download SKU: A0.759714 Composed by Francois Couperin. Arranged by Antonio Livio Spaltro. Baroque,Concert,Instructional,Standards. Score. 12 pages. Antonio Livio Spaltro #4366676. Published by Antonio Livio Spaltro (A0.759714). Cello Duet sheet music appropriate for students and for repertoire.François Couperin composed Les Barricades Mystérieuses for harpsichord in 1717.Music duration: 3 minutes.For further information and arrangement requests contact me on my site: http://antoniospaltro.itBrowse my catalogue: https://www.sheetmusicplus.com/publishers/antonio-livio-spaltro/9311
$2.99
2.75 €
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2 Cellos (duet)
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Francois Couperin
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Les Barricades Mystérieuses for Cello Duet
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Antonio Livio Spaltro
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SheetMusicPlus
Scarlatti, D. - Sonata No. 3 for String Quartet
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.5…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.540531 Composed by D. Scarlatti. Arranged by Linda M. Scott. Baroque. Score and parts. 8 pages. Linda M Scott #4295807. Published by Linda M Scott (A0.540531). This arrangement was originally written for harpsichord. In the 1700's Charles Avison orchestrated this (and several other Scarlatti keyboard sonatas) for string orchestra. This spritely arrangement is very approachable for most intermediate groups. This piece is great for intermediate students, amateurs and professionals. Minimal use of third position, and easy rhythmic patterns characterize this piece.
$5.99
5.5 €
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String Quartet: 2 violins, viola, cello
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D
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Scarlatti, D. - Sonata No. 3 for String Quartet
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Linda M Scott
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SheetMusicPlus
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