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You've selected:
Viola by Tones and I
Sheetmusic to print
73 sheet music found
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51
As Tears Go By
String Trio: violin, viola, cello
String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.521228 By The R…
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String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.521228 By The Rolling Stones. By Andrew Loog Oldham, Keith Richard, Keith Richards, and Mick Jagger. Arranged by Sherry Lewis Publishing. Contemporary. 14 pages. Sherry Lewis Publishing #4286607. Published by Sherry Lewis Publishing (A0.521228). AS TEARS GO BY String Trio, Intermediate Level for 2 violins and cello or violin, viola and cello Score: YesParts: 7 pages Time: 2'10MY 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!
$12.99
11.78 €
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String Trio: violin, viola, cello
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The Rolling Stones
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As Tears Go By
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Sherry Lewis Publishing
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SheetMusicPlus
As Tears Go By
String Quartet: 2 violins, viola, cello
String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.5212…
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String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.521227 By The Rolling Stones. By Andrew Loog Oldham, Keith Richard, Keith Richards, and Mick Jagger. Arranged by Sherry Lewis. Contemporary. 18 pages. Sherry Lewis Publishing #4286181. Published by Sherry Lewis Publishing (A0.521227). AS TEARS GO BY String Orchestra, Intermediate Level for 2 violins, viola, cello and string bass chords such as C, Em, etc.Score: YesParts: 8 pages Time: 2'10MY 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!
$12.99
11.78 €
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String Quartet: 2 violins, viola, cello
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The Rolling Stones
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https://www
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As Tears Go By
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Sherry Lewis Publishing
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SheetMusicPlus
Dance Monkey (Easy/Intermediate Level)
Viola
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
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Viola
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Tones and I
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Tomplay
Dance Monkey (Very Easy Level) - Short version
Viola
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
4.99 €
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Viola
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Tones and I
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Tomplay
Dance Monkey (Easy Level)
Viola
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
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Viola
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Tones and I
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Tomplay
Almost May Score and Parts
String Quartet: 2 violins, viola, cello
String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Dow…
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String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Jazz,Pop,Singer/Songwriter. 15 pages. Heidi Savoie #960865. Published by Heidi Savoie (A0.1376321). This score is an arrangement for piano, violin I and II, viola, cello, bass with optional drums.Backstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$24.99
22.66 €
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String Quartet: 2 violins, viola, cello
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Heidi Savoie
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Almost May Score and Parts
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Heidi Savoie
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SheetMusicPlus
How Long Will I Love You String Quartet and Piano (optional)
String Quartet: 2 violins, viola, cello
By Ellie Goulding / Jon Boden. Arranged by Benton Wedge. 6 pages. Published by Ben TON…
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By Ellie Goulding / Jon Boden. Arranged by Benton Wedge. 6 pages. Published by Ben TONES
"How Long Will I Love You" for string quartet (w/ optional piano part)<br> <br> From the movie "About Time"<br> <br> Check out the other Ben TONES arrangements!
$12.99
11.78 €
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String Quartet: 2 violins, viola, cello
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Ellie Goulding / Jon Boden
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How Long Will I Love You String Quartet and Piano
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Ben TONES
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SheetMusicPlus
Sinfonico, Op.12 for Three Violins & Viola
Violin, Viola (duet)
Instrumental Duet Instrumental Duet,Viola,Violin - Digital Download SKU: A0.777941 …
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Instrumental Duet Instrumental Duet,Viola,Violin - Digital Download SKU: A0.777941 Composed by Anton Reicha. Arranged by Mikio Kamada. Classical. Score and parts. 64 pages. ACORDO Sheet Music #2523395. Published by ACORDO Sheet Music (A0.777941). Anton Reicha (1770-1836) has composed many pieces of chamber music especially for flutes. This piece consists of four movements, I. Allegro, II. Andante, III. Menuet, Allegro Vivace, and VI. Finale, Allegro Vivace. Full of vibrant music notes. All players will enjoy communication with other parts. Violin could play the original tones of the music for flute, however, it sounds too high as violin-tones. In this arrangement, the tone ranges are optimized for these instruments.
$24.00
21.76 €
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Violin, Viola (duet)
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Anton Reicha
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Sinfonico, Op.12 for Three Violins & Viola
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ACORDO Sheet Music
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SheetMusicPlus
Bach Gavotte I & II for String Quartet
String Quartet: 2 violins, viola, cello
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.732638 Composed …
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.732638 Composed by Johann Sebastian Bach. Arranged by Dave Prudon. Christmas,Classical,Sacred,Wedding. Score and parts. 9 pages. Prudon String Ensembles #4719743. Published by Prudon String Ensembles (A0.732638). There are tons of arrangements of this piece out there for sale, but what makes this one stand out is that the melody starts on the downbeat, rather than the standard 3rd beat. This makes it very easy to play which results in a much more solid performance for the quartet. With some tasteful passing tones added to the harmony parts, this arrangement is guaranteed to please everyone.       Look for a large selection of other nice string arrangements at: Prudon String Ensembles Sheet Music.
$10.99
9.96 €
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String Quartet: 2 violins, viola, cello
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Johann Sebastian Bach
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Bach Gavotte I & II for String Quartet
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Prudon String Ensembles
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SheetMusicPlus
ALES STENAR, suite for violin and chamber orchestra - Score Only
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. B…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,Romantic Period. 28 pages. Stefano Olcese #745768. Published by Stefano Olcese (A0.1145526). ----> IMPORTANT
$19.99
18.12 €
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Chamber Orchestra
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Stefano Olcese
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ALES STENAR, suite for violin and chamber orchestra - Score Only
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Stefano Olcese
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SheetMusicPlus
N.I.C.E. March
Orchestra Bassoon,Cello,Clarinet,Drum Set,Flute,Horn,Percussion,Trombone,Trumpet,Tuba,Viol…
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Orchestra Bassoon,Cello,Clarinet,Drum Set,Flute,Horn,Percussion,Trombone,Trumpet,Tuba,Viola,Violin - Interactive Download SKU: A0.482535 Composed by J. Randolph Hall. This edition: Interactive Download. Film/TV. Score and parts. 21 pages. Duration 202. Published by J. Randolph Hall (A0.482535). This march is inspired by C.S. Lewis' That Hideous Strength where the National Institute for Coordinated Experiments is the evil group that wants to transform humanity into something terrifying, living in a dystopian existence. The tritones and the whole tone scale help to create an ominous sound as if the N.I.C.E. is coming to get you. The flutes and first violins play N.I.C.E. in Morse code (U.S).
$20.00
18.13 €
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J
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N.I.C.E. March
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J. Randolph Hall
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SheetMusicPlus
What do they matter? (for medium-high voice and harp)
Small Ensemble Harp,Voice - Level 5 - Digital Download SKU: A0.799604 Composed by N…
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Small Ensemble Harp,Voice - Level 5 - Digital Download SKU: A0.799604 Composed by Nicole Elyse DiPaolo. 20th Century,Contemporary. Score and parts. 4 pages. Nicole Elyse DiPaolo #3417119. Published by Nicole Elyse DiPaolo (A0.799604). This short song was composed in 2012 during my doctoral coursework at Indiana University's Jacobs School of Music. It was written for tenor, but given its accessible range (Db4 to G5 in the original key), it would work well for lighter voices in many fachs, including light lyric sopranos, baritones, and mezzos. The text, translated from a poem by Takuboku Ishikawa (1886-1912), is gender-neutral. This would be a great introduction to new music for an undergraduate singer with strong aural skills and a still-light voice (since young dramatics might overpower the harp).If you'd like to talk about commissioning a transposed score, please get in touch! Transposition options will be a bit more limited with the harp than with the piano, but I'm sure we could make something work.Poem text (in English translation, as it appears in the score)Setting sun, Drifting clouds, New moon, Evening twilight, What do they matter to me?Composer biography:Nicole Elyse DiPaolo is a versatile composer, teacher, collaborative pianist, and music theorist currently based in Bloomington, Indiana. Currently a PhD candidate in music theory at Indiana University, she recently completed a doctoral minor in composition, having studied with Claude Baker, Don Freund, P. Q. Phan, and David Schneider. She also holds a B.Mus. from the University of Michigan, where she studied composition with Bright Sheng and piano with Louis Nagel. Nicole's music has been heard across the world: along with numerous performances in the Midwest, her commissioned song settings of Muscogee poet laureate Alexander Posey's texts have been performed at Shorter College (GA) and Lincoln University (PA), and the Smithsonian Institution procured copies of two of these (Nature's Blessings and A Vision) to archive at the National Museum of the American Indian. Additionally, Nicole's viola duo Three Episodes was featured at Ball State University's 40th Annual New Music Festival in February 2010. Her early compositions have been garnering interest as well: music students in Kenya performed several of Nicole's such pieces in May 2013 through a pedagogical project spearheaded by IU faculty member Kimberly Carballo. Nicole's music also received its Mexican premiere in October 2013 with a performance of her Divertimento, written for the International String Quartet of Yucatán. In 2014, Nicole published a set of twenty short pedagogical pieces in uncommon keys, entitled Venturing Beyond, available on SheetMusicPlus. Also a sought-after teacher and adjudicator, Nicole frequently judges regional and divisional MTNA composition competitions at all levels, ranging from elementary to college-level Young Artists, and she also served as the composition department chair at Blue Lake Fine Arts Camp in 2014. For more on Nicole DiPaolo and her varied musical pursuits, visit her website at http://ndipaolo.musicaneo.com !
$5.99
5.43 €
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Nicole Elyse DiPaolo
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What do they matter?
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Nicole Elyse DiPaolo
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SheetMusicPlus
Violescent Dreams for Solo Viola
Viola
Viola Solo - Level 5 - Digital Download SKU: A0.509631 Composed by Akmal Parwez. Co…
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Viola Solo - Level 5 - Digital Download SKU: A0.509631 Composed by Akmal Parwez. Concert,Contemporary,Instructional,Standards. Individual part. 6 pages. Tamarind Tones Music #6102091. Published by Tamarind Tones Music (A0.509631). Dream SequenceI. LanguidoII. LeggeroIII. Lesto.
$7.50
6.8 €
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Viola
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Akmal Parwez
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Violescent Dreams for Solo Viola
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Tamarind Tones Music
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SheetMusicPlus
the swan lake theme sheet music for beginners Viola and Cello
Viola, Cello (duet)
Cello,Instrumental Duet,Viola - Level 1 - Digital Download SKU: A0.1274416 By P. I.…
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Cello,Instrumental Duet,Viola - Level 1 - Digital Download SKU: A0.1274416 By P. I. Tchaikovsky. By Piotr Ilitch Tchaikovski. Arranged by Arezzo Music. 19th Century,Chamber,Children,Classical,Romantic Period. 3 pages. Arezzo Music #866559. Published by Arezzo Music (A0.1274416). The swan lake theme sheet music for beginners Viola and Cello Dive into the enchanting realm of Tchaikovsky's Swan Lake with our tailored sheet music meticulously crafted for beginner viola and cello players. This arrangement introduces you to the captivating essence of the iconic theme, allowing novice musicians to immerse themselves in the beauty of this beloved ballet composition. Join forces with your fellow instrumentalist and embark on a musical journey that melds the soothing tones of the viola and the resonant melodies of the cello. Whether you're practicing individually or collaborating on a duet, our sheet music offers an accessible and delightful way to experience the magic of Swan Lake. Explore the world of classical music and nurture your passion for playing the viola and cello with this iconic piece, evoking the elegance and allure of Tchaikovsky's timeless masterpiece. the swan lake theme sheet music for beginners Viola and Cello
$3.99
3.62 €
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Viola, Cello (duet)
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P
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the swan lake theme sheet music for beginners Viola and Cello
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Arezzo Music
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SheetMusicPlus
the swan lake theme sheet music for beginners Viola and Bassoon
Viola and Bassoon
Bassoon,Instrumental Duet,Viola - Level 1 - Digital Download SKU: A0.1274417 By P. …
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Bassoon,Instrumental Duet,Viola - Level 1 - Digital Download SKU: A0.1274417 By P. I. Tchaikovsky. By Piotr Ilitch Tchaikovski. Arranged by Arezzo Music. 19th Century,Chamber,Children,Classical,Romantic Period. 3 pages. Arezzo Music #866560. Published by Arezzo Music (A0.1274417). The swan lake theme sheet music for beginners Viola and Bassoon Delve into the enchanting melodies of Tchaikovsky's Swan Lake with our carefully tailored sheet music designed for beginner viola and bassoon players. This arrangement allows novice musicians to explore the captivating essence of the iconic theme, creating a harmonious interplay between the deep resonance of the bassoon and the rich tones of the viola. Whether you're practicing individually or embarking on a musical duet, our sheet music provides an accessible and delightful way to experience the magic of Swan Lake. Immerse yourself in the world of classical music and nurture your passion for playing the viola and bassoon with this timeless piece that evokes the elegance and allure of Tchaikovsky's masterpiece. the swan lake theme sheet music for beginners Viola  and Bassoon
$3.99
3.62 €
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Viola and Bassoon
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P
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the swan lake theme sheet music for beginners Viola and Bassoon
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Arezzo Music
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SheetMusicPlus
I Got You (I Feel Good)
String Quartet: 2 violins, viola, cello
By James Brown. By James Brown. Arranged by Benton Wedge. R & B. Score and parts. …
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By James Brown. By James Brown. Arranged by Benton Wedge. R & B. Score and parts. 8 pages. Ben TONES #3557025. Published by Ben TONES
$12.99
11.78 €
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String Quartet: 2 violins, viola, cello
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James Brown
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B
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I Got You
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Ben TONES
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SheetMusicPlus
Dance Monkey - Viola by Tones and I - Instrumental Solo
Viola
Performed by: Tones and I: Dance Monkey - Viola Digital Sheetmusic - instantly downloadabl…
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Performed by: Tones and I: Dance Monkey - Viola Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Solo;Instrumental Part, instruments: Viola; 3 pages -- Solo Instrumental~~Dance-Pop~~Australian~~Indie Pop
$3.99
3.62 €
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Viola
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Tones and I
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Viola by Tones and I
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Musicnotes
Dance Monkey
Viola
Viola Solo - Interactive Download SKU: HX.501469 By Tones And I. This edition: Inte…
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Viola Solo - Interactive Download SKU: HX.501469 By Tones And I. This edition: Interactive Download,scorch. Pop. Individual part. 2 pages. Published by Hal Leonard - Digital (HX.501469).
$2.99
2.71 €
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Viola
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Tones And I
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Dance Monkey
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Hal Leonard - Digital
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SheetMusicPlus
Lasse's Lamentation and Joy for 20/21 Trumpets or Treble Clef Instruments
Large Ensemble Clarinet,Euphonium,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Tuba,…
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Large Ensemble Clarinet,Euphonium,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 3 - Digital Download SKU: A0.760978 Composed by Kunzen, Traditional, and Valders. Arranged by Arranged by Stephen Rockey. 20th Century,Concert,Romantic Period,World. Score and parts. 39 pages. Stephen Rockey #3585463. Published by Stephen Rockey (A0.760978). This is an arrangement of four Norwegian folk tunes arranged for my friend and colleague Lasse Tronstad, for his annual trumpet school in Norway. Set out in four choirs of five, I suggest an antiphonal positioning of the performers. Following is a list of the folk tunes I used: Aa Ola, min Ola, Alle mann hadde fota, Dæ va eigøng kung'e, Druen vokser paa vor klode. This piece can also be used with any set of 20 like pitched treble clef reading instruments. e.g. Five Clarinets, Five Trumpets, Five Tenor/Soprano Saxophones, Five Bb Baritones, Five Flugelhorns, Five Euphoniums, Five Cornets; or any combination of the above, mix and match! OR: Violins & Violas? The options are numerous.
$10.00
9.07 €
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Kunzen, Traditional, and Valders
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Lasse's Lamentation and Joy for 20/21 Trumpets or Treble Clef Instruments
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Stephen Rockey
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SheetMusicPlus
Dance Monkey by Tones and I - String Quartet
String Quartet: 2 violins, viola, cello
Performed by: Tones and I: Dance Monkey Digital Sheetmusic - instantly downloadable sheet …
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Performed by: Tones and I: Dance Monkey Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: String Quartet;Score, instruments: Violin 1;Violin 2;Viola;Cello; 22 pages -- Instrumental Pop~~Pop~~Dance-Pop~~Australian~~Indie Pop~~Classical Pop
$19.99
18.12 €
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String Quartet: 2 violins, viola, cello
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Tones and I
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String Quartet
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Musicnotes
[Westergaard] Twelfth Night (Act I Full Score)
Chamber Orchestra
Chamber Orchestra - Digital Download SKU: A0.952812 Composed by Peter Westergaard. …
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Chamber Orchestra - Digital Download SKU: A0.952812 Composed by Peter Westergaard. Contemporary,Opera. Score and parts. 381 pages. American Composers Alliance Inc. #4624283. Published by American Composers Alliance Inc. (A0.952812). Full score to Act I of Westergaard's Shakespearian chamber opera, Twelfth Night. Scored for 12 solo singers (1 soprano, 1 mezzo-soprano, 1 contralto, 1 countertenor, 3 tenors, 4 baritones, 1 bass), 4 supernumeraries, flute (doubling piccolo & alto flute), Ob (doubling English horn), Clarinet, Bassoon, Horn, Trumpet, Harp, 2 Violins, 2 Violas, and 2 cellos. PDF download includes score - contact sales@composers.com for any inquiries into part sales or rental.
$111.95
101.51 €
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Chamber Orchestra
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Peter Westergaard
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[Westergaard] Twelfth Night
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American Composers Alliance Inc.
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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
21.75 €
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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
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