PARTITIONS GRATUITES : GUITARE ET VIOLONCELLE
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String Quartet - intermediate

SKU: BT.DHP-1064034-070

Arranged by Gunter Van Rompaey and Hans Aerts. Pop & Rock. Set (Score & Parts). Composed 2006. 40 pages. De Haske Publications #DHP 1064034-070. Published by De Haske Publications (BT.DHP-1064034-070).

ISBN 9789043124720. 9x12 inches. English-German-French-Dut ch.

Traditionally a string quartet will not readily take on pop music. But times are changing and the classic quartet line-up proves suitable for beautiful arrangements of contemporary songs as well. This book features three hits from past decades, The Rose (Bette Midler) with its simple, pure sounds and underlying harmonies, La Solitudine (Laura Pausini) - compelling and with a hidden energy and finally Wonderwall (Oasis), an unexpected choice, with its persistent rhythmic background. To allow the string quartet to play together with optional guitar or keyboard, chord symbols have been added in the score. These songs - which certainly have a passionate andromantic ring to them - are ideal for receptions, weddings and other festive occasions. (Position 1-5)

Drie bekende songs in geslaagde bewerkingen voor strijkkwartet: Pop Ballads for String Quartet bewijst dat het kan. Om het strijkkwartet de mogelijkheid te bieden samen te spelen met gitaar of keyboards zijn akkoordsymbolentoegevoegd in de partituur. Deze songs vol passie en romantiek zijn ideaal voor het opluisteren van recepties, bruiloften en andere feestelijke gelegenheden. (Position 1-5)

Ein Buch für alle Streicher, die anstatt der klassischen Literatur für Streichquartett auch einmal etwas ganz Modernes, Unterhaltsames spielen wollen. Hans Aerts und Gunter Van Rompaey bearbeiteten für diese Ausgabe drei bekannte Pop- Titel für zwei Violinen, Viola und Cello. Akkordsymbole für eine Begleitung von Keyboard oder Gitarre sind ebenfalls enthalten.(Position 1-5)

Ce recueil contient trois succès des dernières décennies : The Rose, avec ses sonorités simples et épurées et ses harmonies demi cachées ; La Solitudine, l‘énergie dissimulée et enfin Wonderwall, un choix inattendu dont le tapis sonore est continuellement rythmé. Des symboles d’accords ont été ajoutés sur la partition afin de permettre au quatuor cordes de se faire accompagner d’une guitare ou clavier (partie optionnelle). (Position 1-5)

Questa pubblicazione permetter ai giovani musicisti di cominciare a suonare in gruppo. Il quartetto d’archi è da sempre la formazione per eccellenza, equilibrata e potente nell’espressione. Anche la musica in stile pop, arrangiata per l’occasione da Hans Aerts, si adatta a questo tipo di organico. L’importante è saper ascoltare la parte degli altri per inserire il proprio ritmo nell’insieme. (Position 1-5).

With Suggested Chordal Accompaniment. Composed by Craig Duncan. Cello,Guitar: Gospel and Sacred,Style,Gospel/Sacre d,Du et/Ensemble,Solos,Duets and Ensemble,Solos. 100 Hymns. Book. 120 pages. Published by Mel Bay Publications, Inc

With Suggested Chordal Accompaniment. Composed by Craig Duncan. Squareback saddle stitch, Solos, Holiday: Christmas, Duet/Ensemble, Duets and Ensemble. 100 HYMNS. Style. Book. 124 pages. Mel Bay Publications, Inc #30703. Published by Mel Bay Publications, Inc

Chamber Music Cello, Piano

SKU: CF.BF141

Composed by Ernest Bloch. Edited by Julian Schwarz. 12+8 pages. Carl Fischer Music #BF141. Published by Carl Fischer Music (CF.BF141).

ISBN 9781491159989. UPC: 680160918584.

The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.

The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.

The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.

The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917.

Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance. The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos. The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience. The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917. Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, “Prayer”, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, “The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski’s (1912–1991) now well-known setting of the High Holyday prayer Avinu Malkenu.” This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both “Prayer” and Janowski’s Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, “Supplication� � (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, “Jewish Song”, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch’s most celebrated work, Schelomo in 1917.Though the popularity of Bloch’s oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America’s composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.

Arranged For Cello And Guitar. Composed by Franz Schubert (1797-1828). Edited by Zuill Bailey. Arranged by David Leisner / Zuill Bailey. Romantic. Set of parts. With Standard notation. Composed 1824. D. 821. 32 pages. Duration 24 minutes. Theodore Presser Company #144-40627. Published by Theodore Presser Company (PR.144406270).

By Franz Schubert. Edited by Kinsky. For flute (violin), viola, violoncello, guitar. (G)(after Matiegka:Trio,Op.21). Published by C.F. Peters.

Duo for Violoncello or Viola and Guitar. By Antonin Dvorak. Arranged by Kedves, Tokos, Decsi. EMB. Size 9x12 inches. 8 pages. Published by Editio Musica Budapest.