PARTITIONS GRATUITES :
- Jazz Sonata No. 2

Viola

SKU: HL.48187487

Composed by Darius Milhaud. Heugel. Classical. Softcover. 20 pages. Heugel & Cie #HE31122. Published by Heugel & Cie (HL.48187487).

UPC: 888680844882. 9.0x12.0x0.086 inches.

“Fren ch composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded, Sonata No. 2 for Viola and Piano being no exception. Milhaud's compositions are influenced by jazz and polytonality, as exemplified in Sonata No. 2. Composed in 1944, Sonata No. 2 for Viola and Piano is an alternative, exciting sonata made up of three movements; 1) Rural, 2) Dramatic, and 3) Rough. Milhaud makes use of variation in articulation, complex rhythms, chromaticism, accidentals, harmonics, altering tempos, variation in dynamics and a wide tessitura, amongst other aspects. Milhaud's Sonata No. 2 for Viola and Piano is essential to all advanced violists seeking modern and exciting repertoire.”.

Piano - Advanced

SKU: YM.GTP01097742

Composed by Johann Sebastian Bach. Arranged by Eiichi Fujii. Piano Pop and Vocal. Score. Yamaha Music Media #GTP01097742. Published by Yamaha Music Media (YM.GTP01097742).

ISBN 9784636977424.

17 well-known J.S. Bach's works are arranged by Eiichi Fujii.
This series is produced by Eiichi Fujii, known as a highly sophisticated jazz piano arranger as well as a pioneer of jazz piano in Japan.
All music sheets in the series have samples of trio ensemble performances for reference; they can be found just by reading the QR code in each book with smartphones.

Piano - Advanced

SKU: YM.GTP01097743

Composed by Frederic Chopin. Arranged by Eiichi Fujii. Piano Pop and Vocal. Score. Yamaha Music Media #GTP01097743. Published by Yamaha Music Media (YM.GTP01097743).

ISBN 9784636977431.

13 well-known Chopin's works are arranged by Eiichi Fujii.
This series is produced by Eiichi Fujii, known as a highly sophisticated jazz piano arranger as well as a pioneer of jazz piano in Japan.
All music sheets in the series have samples of trio ensemble performances for reference; they can be found just by reading the QR code in each book with smartphones.

Piano. Composed by Nikolai Kapustin. This edition: Saddle stitching. Sheet music. Piano. Classical. Softcover. Composed 1989. Op. 54. 64 pages. Duration 22' 20''. Schott Music #ED22825. Published by Schott Music (HL.49045789).

(20 Great American Songbook and Jazz Favorites (Piano/Vocal/Guitar)). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Book; P/V/C Mixed Folio; Piano/Vocal/Chords. Top-Requested Sheet Music. Great American Songbook; Jazz; Standard. 80

Chamber Music String Quartet

SKU: PR.14440265S

Composed by Sydney F. Hodkinson. Large Score. With Standard notation. Duration 25 minutes. Merion Music #144-40265S. Published by Merion Music (PR.14440265S).

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response. ’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.