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At Last: 3rd Violin
Sheetmusic to print
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1
The Magic of Harry Potter: 3rd Violin (Viola [TC])
Violin (band part)
Full Orchestra - Digital Download SKU: AX.00-PC-0015970_VN3 3rd Violin (Viola [T…
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Full Orchestra - Digital Download SKU: AX.00-PC-0015970_VN3 3rd Violin (Viola [TC]). Arranged by Michael Story. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0015970_VN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015970_VN3). UPC: 038081451275.The Magic of Harry Potter contains themes from all eight motion pictures in the Harry Potter series. The themes included are Hedwig's Theme and Nimbus 2000 from Harry Potter and the Sorcerer's Stone, Fawkes the Phoenix from Harry Potter and the Chamber of Secrets, Double Trouble from Harry Potter and the Prisoner of Azkaban, Hogwarts' Hymn from Harry Potter and the Goblet of Fire, Dumbledore's Army from Harry Potter and the Order of the Phoenix, Harry and Hermione from Harry Potter and the Half-Blood Prince, Ministry of Magic from Harry Potter and the Deathly Hallows -- Part 1, Showdown from Harry Potter and the Deathly Hallows -- Part 2, and Leaving Hogwarts, which appeared at the end of both the first and last movies. This arrangement is scored for full orchestra, but is completely playable by strings alone. (6:00) This title is available in SmartMusic.
$3.00
2.8 €
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Violin (band part)
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The Magic of Harry Potter: 3rd Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
America, the Beautiful: 3rd Violin (Viola [TC])
String Orchestra
String Orchestra - Digital Download SKU: AX.00-PC-0015952_VN3 3rd Violin (Viola …
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String Orchestra - Digital Download SKU: AX.00-PC-0015952_VN3 3rd Violin (Viola [TC]). Composed by Samuel Augustus Ward. Arranged by Carmen Dragon and Douglas E. Wagner. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015952_VN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015952_VN3). UPC: 038081453415.At long last, this beloved treasure of American patriotic music from the orchestral repertoire is now available in a playable adaptation written expressly for young ensembles. All of the majestic beauty and awesome grandeur of Carmen Dragon's original is preserved in this new scoring, with appropriate accommodations made for less-experienced instrumentalists. A great choice for a program opener, this arrangement will be a welcome addition to any concert performance. (3:05) This title is available in SmartMusic.
$5.99
5.6 €
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String Orchestra
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Samuel Augustus Ward
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America, the Beautiful: 3rd Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Symphonic Variants on Ode to Joy: 3rd Violin (Viola [TC])
String Orchestra
String Orchestra - Digital Download SKU: AX.00-PC-0014440_VN3 3rd Violin (Viola …
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String Orchestra - Digital Download SKU: AX.00-PC-0014440_VN3 3rd Violin (Viola [TC]). Composed by Ludwig van Beethoven. Arranged by Douglas E. Wagner. Classical. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014440_VN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014440_VN3). UPC: 038081376752.Beethoven's resplendent Ode to Joy, from the last movement of his Symphony No. 9, is brought to life in an exciting arrangement designed to foster instant success for ensembles of less experienced players. The solid scoring will boost confidence and help to insure a secure performance. An added feature of this work is that all instruments have some part of the main theme to play throughout its course. Audiences will thrill to the instantly recognizable tune, and players will be amazed at how quickly they master their parts. This title is available in SmartMusic.Concert/Contest; Festival.
$5.99
5.6 €
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String Orchestra
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Ludwig van Beethoven
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Festival.
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Symphonic Variants on Ode to Joy: 3rd Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The Last Rose of Summer - Violin and Piano
Violin and Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.722426 Composed by Traditional. A…
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Piano,Violin - Level 3 - Digital Download SKU: A0.722426 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Holiday,Love,Opera,Patriotic. 5 pages. Music-Scores.com #6505921. Published by Music-Scores.com (A0.722426). The Last Rose of Summer, a romantic ballad for Violin and Piano, with 2nd and 3rd verses being improvisational in nature.The original poem by Thomas Moore was set to the music of an old Irish ballad, The Groves of Blarney, which dates back to the 18th century, and the opera, Martha by Von Flottov, features this song. Duration about 2 mins, 45 seconds.Arranged by Anne L Christopherson ARCM GRSM at www.music-scores.com
$5.95
5.56 €
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Violin and Piano
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Traditional
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The Last Rose of Summer - Violin and Piano
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Music-Scores.com
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SheetMusicPlus
The Last Rose of Summer - Unaccompanied Violin
Violin
Violin Solo - Level 3 - Digital Download SKU: A0.722434 Composed by Traditional. Ar…
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Violin Solo - Level 3 - Digital Download SKU: A0.722434 Composed by Traditional. Arranged by Anne L Christopherson GRSM ARCM. Holiday,Love,Opera,Patriotic. 2 pages. Music-Scores.com #6564371. Published by Music-Scores.com (A0.722434). The Last Rose of Summer, a romantic ballad for Solo Violin, with 2nd and 3rd verses being improvisational in nature.The original poem by Thomas Moore was set to the music of an old Irish ballad, The Groves of Blarney, which dates back to the 18th century, and the opera, Martha by Von Flottov, features this song. Duration about 2 mins, 45 seconds.Arranged by Anne L Christopherson ARCM GRSM at www.music-scores.com
$5.95
5.56 €
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Violin
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Traditional
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The Last Rose of Summer - Unaccompanied Violin
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Music-Scores.com
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SheetMusicPlus
Violin Sonata No.3
Violin and Piano
Piano,Violin - Level 5 - Digital Download SKU: A0.518941 Composed by Han-Ki Kim. 20…
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Piano,Violin - Level 5 - Digital Download SKU: A0.518941 Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Traditional. 44 pages. Han-Ki Kim #129613. Published by Han-Ki Kim (A0.518941). Violin Sonata No. 3 “Korean Beauty” Op.289 Sonata No. 3 is a music composed of Korean folk songs, nursery rhymes, and rhythms. The 1st movement was composed in a traditional sonata form with two opposing themes following a short introduction, “Jindo Arirang” and the rhythms of “Semachi” were cited. In the 2nd movement, the lyrical beauty is expressed using the theme of “Arirang,” which is the most representative Korean folk song and is well known worldwide. And for 3rd movement, the Korean nursery rhyme “Eolle Kollery” is cited, which is based on a four-time system, is used to express a humorous atmosphere. For reference, “Eollekoleri” is a language used by children to make fun of others. The last 4th movements are in the rondo form of ABACAD, and between the A and A subjects, three different folk songs, “Miryang Arirang”, Cheonan Samgeori(Three-way Intersection), and “Saeya Saeya Palangsaeya”(Blue Bird) are cited, and at the same time, the Korean rhythms “Kutkori” and “Jajinmori” and Semachi were comprehensively cited. Due to the characteristic of the 4th movement in which the theme is used in layers, it was given the nickname “Korean Folk Song Sandwich”. This Sonata No. 3 was selected as a designated piece in the first final competition to commemorate the late Kwon Hyuk-ju, and was premiered worldwide by 5 finalists. Attached music file is 2,4movement just for a reference.
$14.99
14.01 €
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Violin and Piano
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Han-Ki Kim
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Violin Sonata No.3
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Han-Ki Kim
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SheetMusicPlus
At Last: 3rd Violin (Viola [TC])
Violin (band part)
By Beyonce. By Harry Warren. Arranged by Patrick Roszell. For String Orchestra. Instructio…
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By Beyonce. By Harry Warren. Arranged by Patrick Roszell. For String Orchestra. Instructional. Part. 1 pages. Published by Alfred Music - Digital Sheet Music
$5.99
5.6 €
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Violin (band part)
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Beyonce
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At Last: 3rd Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS A
Jazz Ensemble
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.876417 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.876417 Composed by Johann Sebastian Bach. Arranged by Joe Procopio. Baroque,Jazz. Score and parts. 42 pages. JoeCopio Music LLC #2032001. Published by JoeCopio Music LLC (A0.876417). THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS Arr. By Joe Procopio These arrangements by Joe Procopio from J.S. Bach’s Flute/Violin Sonata II in Eb are special in many ways. Firstly, it fills the need for the very best in music combining the genres of both Classical and Jazz. In addition, it is also importantly unique because it may be performed by a variety of musicians. For example, the arrangement in C may be performed by 2 or more C Instruments including Flute, Piccolo, Oboe and Violin with a small band accompaniment (Piano, Guitar, Bass, and Drums - Guitar is optional). The work may also be performed with just the Piano and/or Guitar for accompaniment. What’s more, the Rhythm Track Accompaniment is available without the solo instruments adding to the already many attributes of this music that enhance its inherent genuine global appeal. This is critical because teachers, students and musicians worldwide are constantly seeking music of the highest quality that can be skillfully presented to the public while having, at the same time, built-in qualities both pleasing to the listener and the performer alike. Bach’s melodies have certainly stood the test of time and Jazz is without question internationally popular. That makes these arrangements truly worthy of attention from people, artists and publishers throughout the world. The composer personally has had great success with this work in many major concerts including its premier performance using a Flute Choir at a Civic Center Concert held in Syracuse, NY before several thousand people who triumphed the young musicians with a standing ovation. The melody by J.S. Bach used in this work is taken from the Bach-Gesellschaft Ausgabe Band 9 and 1 Kammermusik BWV 1031- known as the complete works of Johann Sebastian Bach which was published in 46 volumes from 1851-1899. A single volume was issued in 1926. The last surviving editor of the series died in 1928, and these volumes are now public domain worldwide. They are also held in acclaim because there are no articulation or expression marks in the Gesellshaft. Therefore, the articulation and expression marks written in these arrangements by the arranger are suggestions only. Musicians may perform the works in any manner best suited to the betterment of their own performance.
$5.99
5.6 €
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Jazz Ensemble
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Joe Procopio These arrangements by Joe Procopio from J
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Johann Sebastian Bach
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THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS A
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JoeCopio Music LLC
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SheetMusicPlus
The Spear of Destiny
Violin and Piano
Instrumental Duet Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.1…
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Instrumental Duet Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.1030742 Composed by Jesus J. Martinez. Contemporary. Score and parts. 1 pages. Jesus Martinez Music #2019881. Published by Jesus Martinez Music (A0.1030742). PROGRAM NOTES: The Spear of Destiny is titled and inspired by the supposed spear that was used to kill Jesus Christ. The spear is said to have extraordinary powers. He who possesses it will rule the world and he who loses it thereafter will die an untimely death. The last person recorded to have had it was Adolf Hitler. This musical composition journeys through the time of Hitler and his obsession to obtain the spear, his atrocious acts during his tenure of the spear, and the loss of the spear. The spears main thematic motions are the glissandos in the violin that represent the spears anger and tortuous ways. I. Spear Found takes place during his times as an understudy of Dietrich Eckart, a dedicated satanist and figure in the Occult Thule Society and founding member of the Nazi party. Dietrich said: Follow Hitler! He will dance, but it is I who have called the tune! I have initiated him into the Secret Doctrine' opened his centres in vision and given him the means to communicate with the Powers. Do not morn for me; I shall have influenced history more than any other German. Hitler became enamored with the Spear of Destiny, which claimed it called to him. Spear Found, is Hitler's journey to capturing the spear to rule the world. II. Spear Possessed begins with no time meter or key signature. It is ad liberty of the performers and is a musical representation of the spears possessive powers towards evil. This movement takes place during the time of the Holocaust and the actions committed during Hitler's reign of world domination. The movement infers a jewish folk song titled, Dayeinu, a jewish Passover song meaning it would have been enough. This song is set in context of freedom. The movement goes through variations of Dayeinu and the spears version of a possessed Dayeinu. The violin has fast and rapid rhythms with small thematic material of the folk tune. At the end of the movement, the piano strikes the low end of the piano with a soft yarn mallet to symbolize the bombs dropping and the start of World War II. III. Spear Lost takes place during WWII and the Marines efforts to take down Hitler's reign. During the 3rd movement, the Marine Corps music comes to life as they take control of the spear and ultimately end the war. The Spear however, takes its last stand as the spears motif soars over the possessed marine tune. At the end of the movement, the spear is once again screeching as it survives and goes missing once again.
$32.99
30.84 €
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Violin and Piano
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Jesus J
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The Spear of Destiny
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Jesus Martinez Music
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SheetMusicPlus
The Somnambulist - String Quartet
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1050907 Composed by W.Brent Sawyer. 20th Century,Classical,Contemporary. Score and parts. 19 pages. Diamond S Music #655255. Published by Diamond S Music (A0.1050907). The Somnambulist for String Quartet by W. Brent Sawyer This piece is based on a scale with the lowered 3rd and raised 6th & 7th - like the Melodic Minor scale however, the natural 6th and 7th are never used at all in the piece - so it is the same as the Ascending Melodic Minor. The 1st and last sections are in Am (raised 6 & 7th) and the middle section is in Ebm (raised 6th & 7th). The piece is completely diatonic except for one 3 note motif that adds the chromatic passing tone (measure 31-32.) Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940.
$9.99
9.34 €
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String Quartet: 2 violins, viola, cello
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W
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The Somnambulist - String Quartet
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Diamond S Music
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SheetMusicPlus
Zeichenstaub
Violin, viola and cello - difficult - Digital Download SKU: S9.Q47072 Trio. …
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Violin, viola and cello - difficult - Digital Download SKU: S9.Q47072 Trio. Composed by Graham Waterhouse. This edition: Sheet music. Downloadable, score and parts. Musikverlag Robert Lienau - Digital #Q47072. Published by Musikverlag Robert Lienau - Digital (S9.Q47072). German • English • French.The composition was composed in response to a poem written in 1992 by Karl Dietrich Hepp (Kaspar Damian Hosp under his pen name). The first letters of the individual movements of the string trio are H E P P: Halcyon, Ethereal, Pointillist and Perpetuum. The poem by K.D.H. was inspired by a photo of his father taken on a ski tour in 1931. Both, the poem and the photo are printed in the edition and everything adds up to a fascinating, artistic chain reaction. The diatonic material of the first movement in the composition by Waterhouse expresses optimism, energy and liberation. The 2nd movement is a study in pianissimo harmonics. The following 3rd movement is a pizzicato study in a bright and vivid harmonic tableau. In the last movement, a kind of Moto Perpetuo, the musical material continually transforms. Graham Waterhouse (*1962) was born into a musical family and has lived in Munich since 1992 where he is active as a freelance composer and cellist. He received his musical education at Cambridge University and at music colleges in Essen and Cologne. His works to date comprise mainly chamber music and instrumental concerts. Waterhouse performs as a solo cellist and in various chamber music formations. He has performed his own Cello Concerto in Toluca, Mexico City, Gorkij, Weimar and Baden-Baden.
$18.99
17.75 €
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Graham Waterhouse
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Zeichenstaub
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Musikverlag Robert Lienau - Digital
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SheetMusicPlus
Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - brass quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1111962 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1111962 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Christian,Classical,Religious,Sacred. 10 pages. RayThompsonMusic #714140. Published by RayThompsonMusic (A0.1111962). Arranged standard brass quintet Mozart's textual inspiration is apparent in the Tuba mirum (Hark, the trumpet) movement, which is introduced with a sequence of three notes in arpeggio, played in B♭ major by a solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin tuba, Posaune (trombone). Two measures later, the bass soloist enters, imitating the same theme. At m. 7, there is a fermata, the only point in all the work at which a solo cadence occurs. The final quarter notes of the bass soloist herald the arrival of the tenor, followed by the alto and soprano in dramatic fashion. On the text Cum vix justus sit securus (When only barely may the just one be secure), there is a switch to a homophonic segment sung by the quartet at the same time, articulating, without accompaniment, the cum and vix on the strong (1st and 3rd), then on the weak (2nd and 4th) beats, with the violins and continuo responding each time; this interruption (which one may interpret as the interruption preceding the Last Judgment) is heard sotto voce, forte and then piano to bring the movement finally into a crescendo into a perfect cadence. My arrangement gives the trombone part to the horn, and the vocal entries are given to the trombone, horn and two trumpets. . Section III of the requiem is titled “Sequenz” (sequentia or sequence). It is made up of the following pieces I have arrangements of all of them, for varying types of ensemble * Dies irae * Tuba mirum * Rex tremendae * Recordare * Confutatis * Lacrymosa. I have also arranged Mozarts Motet “Ave Verum Corpus” K618.
$4.95
4.63 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Wolfgang Amadeus Mozart
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Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - brass quintet
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RayThompsonMusic
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SheetMusicPlus
Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - symphonic wind
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.11111…
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1111159 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Classical,Religious,Sacred. 16 pages. RayThompsonMusic #713434. Published by RayThompsonMusic (A0.1111159). Arranged standard wind decet/dectet/bass Mozart's textual inspiration is apparent in the Tuba mirum (Hark, the trumpet) movement, which is introduced with a sequence of three notes in arpeggio, played in B♭ major by a solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin tuba, Posaune (trombone). Two measures later, the bass soloist enters, imitating the same theme. At m. 7, there is a fermata, the only point in all the work at which a solo cadence occurs. The final quarter notes of the bass soloist herald the arrival of the tenor, followed by the alto and soprano in dramatic fashion. On the text Cum vix justus sit securus (When only barely may the just one be secure), there is a switch to a homophonic segment sung by the quartet at the same time, articulating, without accompaniment, the cum and vix on the strong (1st and 3rd), then on the weak (2nd and 4th) beats, with the violins and continuo responding each time; this interruption (which one may interpret as the interruption preceding the Last Judgment) is heard sotto voce, forte and then piano to bring the movement finally into a crescendo into a perfect cadence. My arrangement gives the trombone part to the first horn, and the vocal entries are given to the 4 wind instruments (All Player 1) I have added some additional sustaining notes on the horns, under the syncorpated section. Section III of the requiem is titled “Sequenz” (sequentia or sequence). It is made up of the following pieces I have arrangements of all of them, for varying types of ensemble * Dies irae * Tuba mirum * Rex tremendae * Recordare * Confutatis * Lacrymosa I have also arranged Mozarts Motet “Ave Verum Corpus” K618.
$9.95
9.3 €
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Wolfgang Amadeus Mozart
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Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - symphonic wind
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RayThompsonMusic
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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)
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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