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String Trio: 2 violins, cello
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You've selected:
Be Thou My Vision, for Two Violins and Cello
Sheetmusic to print
11 sheet music found
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1
Be Thou My Vision, for Two Violins and Cello
String Trio: 2 violins, cello
String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1454110 Composed by T…
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String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1454110 Composed by Traditional Irish Melody. Arranged by Cindy Blevins. Christian,Praise & Worship,Sacred. 7 pages. Cindy Blevins #1033281. Published by Cindy Blevins (A0.1454110). This is a beautiful, playable trio arrangement for two violins and cello. You receive the score and the separate parts.
$5.99
5.49 €
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String Trio: 2 violins, cello
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Traditional Irish Melody
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Be Thou My Vision, for Two Violins and Cello
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Cindy Blevins
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SheetMusicPlus
Be Thou My Vision for two violins and cello
String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.942214 Composed by…
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String Ensemble,String Trio - Level 4 - Digital Download SKU: A0.942214 Composed by Traditional Irish Melody. Arranged by Melissa Hayes. Celtic,Christian,Folk,Wedding. Score and parts. 6 pages. South City Strings Music #5374411. Published by South City Strings Music (A0.942214).
$4.99
4.58 €
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Traditional Irish Melody
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Be Thou My Vision for two violins and cello
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South City Strings Music
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SheetMusicPlus
Be Thou My Vision (String Trio): Two Violins and Cello
String Trio: 2 violins, cello
String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1362736 Composed by T…
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String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1362736 Composed by Traditional Irish Melody. Arranged by John A. Dempsey. Celtic,Christian,Irish,Praise & Worship,Sacred,Traditional. 18 pages. John A. Dempsey #947113. Published by John A. Dempsey (A0.1362736). Arranged as a prayerful, serene string trio for two violins and cello, this beautiful Christian hymn of Irish origin is recommended for traditional church services and other worship events, as a prelude, postlude, an offertory, interlude, silent prayer accompaniment and special music.  Also suitable for wedding music as a prelude, recessional, bridesmaid processional and unity candle accompaniment.  Key: C major.  14 pages of music (that includes separate two-page parts for violin 1, violin 2 and cello)                                 Be Thou my vision, O Lord of my heart;           Naught be all else to me, save that Thou art:       Thou my best thought, by day or by night          Waking or sleeping, Thy presence my light.
$9.99
9.16 €
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String Trio: 2 violins, cello
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Traditional Irish Melody
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Be Thou My Vision
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John A. Dempsey
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SheetMusicPlus
BE THOU MY VISION, A Traditional Irish Hymn, String Trio, Intermediate Level for 2 violins and cello
String Trio: violin, viola, cello
String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.521105 Composed…
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String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.521105 Composed by Traditional Irish Hymn. Arranged by Sherry Lewis Publishing. Baroque,Praise & Worship,Sacred,Spiritual. 9 pages. Sherry Lewis Publishing #3530211. Published by Sherry Lewis Publishing (A0.521105). BE THOU MY VISION String Trio for 2 violins and cello or violin, viola and celloIntermediate LevelScore: 2 pagesParts: 4 pages Time: 1'10MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$10.99
10.08 €
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String Trio: violin, viola, cello
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Traditional Irish Hymn
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BE THOU MY VISION, A Traditional Irish Hymn, String Trio, Intermediate Level for 2 violins and cello
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Sherry Lewis Publishing
#
SheetMusicPlus
BE THOU MY VISION, A Traditional Irish Hymn, String Quartet, Intermediate Level for 2 violins, viola
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: A0.521104 Composed by A Traditional Irish Hymn. Arranged by Sherry Lewis. Baroque,Praise & Worship,Sacred,Spiritual. 9 pages. Sherry Lewis Publishing #3530201. Published by Sherry Lewis Publishing (A0.521104). BE THOU MY VISION String Quartet of 2 violins, viola and celloIntermediate LevelScore: 2 pagesParts: 4 pages Time: 1'10MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$10.99
10.08 €
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String Quartet: 2 violins, viola, cello
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A Traditional Irish Hymn
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BE THOU MY VISION, A Traditional Irish Hymn, String Quartet, Intermediate Level for 2 violins, viola
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Sherry Lewis Publishing
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SheetMusicPlus
Be Thou My Vision, for String Quartet
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.7…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.763311 Composed by Traditional Irish. Arranged by Nigel Williams. Celtic,Holiday,Irish,Sacred. 10 pages. Nigel Williams #4625547. Published by Nigel Williams (A0.763311). Score and parts. This iconic hymn tune is arranged in a unique and imaginative manner. After a short intro the tune appears in the 1st violin with the viola mirroring the tune. The cello provides a pizz pulse while the 2nd violin has a gentle rocking eighth note accompaniment. The tune then appears in the cello with the viola providing the gentle eighth note rocking figure and the two violins play a harmonized counter-melody. A dominant cadence at m54 leads the arrangement to the final coda-like phrase which is played in the 1st violin and has a rich chromatic accompaniment. The full score has four individual parts attached and the performance duration is close to three minutes. Ideal in church services where this hymn is admired, as well as college music departments where string quartets are looking for new and innovative arrangements. See also my Danny Boy (Londonderry Air) for string quartet on SMP.Â
$9.99
9.16 €
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String Quartet: 2 violins, viola, cello
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Traditional Irish
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Be Thou My Vision, for String Quartet
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Nigel Williams
#
SheetMusicPlus
BE THOU MY VISION, A Traditional Irish Hymn, String Orchestra, Intermediate Level for 2 violins, vio
String Orchestra
String Orchestra - Level 3 - Digital Download SKU: A0.521730 Composed by Traditiona…
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String Orchestra - Level 3 - Digital Download SKU: A0.521730 Composed by Traditional Hymn. Arranged by Sherry Lewis. Celtic,Classical,Folk,Irish,Spiritual. Score and Parts. 11 pages. Sherry Lewis Publishing #6411163. Published by Sherry Lewis Publishing (A0.521730). BE THOU MY VISION String Orchestra for 2 violins, viola, cello and string bass chords such as C, Em, etc. Intermediate Level Score: 3 pages Parts: 5 pages Time: 1'10 MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles. Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$6.50
5.96 €
#
String Orchestra
#
Traditional Hymn
#
BE THOU MY VISION, A Traditional Irish Hymn, String Orchestra, Intermediate Level for 2 violins, vio
#
Sherry Lewis Publishing
#
SheetMusicPlus
Be Thou My Vision
String Trio: 2 violins, cello
String Trio Cello,Violin - Level 2 - Digital Download SKU: A0.1358901 By S Kowalske…
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String Trio Cello,Violin - Level 2 - Digital Download SKU: A0.1358901 By S Kowalske. By Irish Folk Tune/Byrne. Arranged by S Kowalske. 21st Century,Christian,Contemporary,Lent,Praise & Worship. 6 pages. S Kowalske #943354. Published by S Kowalske (A0.1358901). A contemporary arrangement of a traditional Christian Hymn. Arranged for two violins and cello.
$1.99
1.83 €
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String Trio: 2 violins, cello
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S Kowalske
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Be Thou My Vision
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S Kowalske
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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)
$23.99
22.01 €
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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
Be Thou My Vision (two violins and cello)
String trio
Arranged by Lena Seeger. For String Trio. Early Music,Christian,Sacred,General Worship,Wed…
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Arranged by Lena Seeger. For String Trio. Early Music,Christian,Sacred,General Worship,Wedding. Easy/Beginner. Score,Set of Parts. 5 pages. Published by Lena Seeger
$1.99
1.83 €
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String trio
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Be Thou My Vision
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Lena Seeger
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SheetMusicPlus
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