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Waltzes Op.73 by Friedrich Kiel. String Quartets. For 2 Violins, Viola, Cello. Set of Parts. Published by Edition Peters (PE.WW0104A). Friedrich Kiel was born on October 7, 1821, in Pude. He died in 1885.Set of parts for string quartet version; score is not included.
$20.00

Instruments: Violin, Cello, Viola, Strings
A Revisitation of Myth (1998) 4 songs by Joelle Wallach (1946-). For medium voice solo with viola, piano. 4 pages. Duration 18 minutes. Published by Classical Vocal Reprint (CV.3587). Viola part included.
$20.00

Pages: 4
Instruments: Piano, Medium Voice, Viola, Piano and Keyboard, Voice, Vocal, Strings
Three Whitman Songs (1989) by Joelle Wallach (1946-). For medium voice solo, Bb clarinet, horn, cello or bassoon. Language: Russian. Published by Classical Vocal Reprint (CV.3598). With Language: Russian.
$20.00

Instruments: Medium Voice, B-Flat Clarinet, Bassoon, Horn, Cello, Voice, Vocal, Clarinet, Woodwinds, Brass, Strings
Long Pond Revisited (Baritone version) by Lori Laitman. For baritone voice solo and cello. Language: German Russian. Duration about 14 minutes. Published by Classical Vocal Reprint (CV.3731). With Language: German Russian.
$20.00

Instruments: Baritone Voice, Cello, Voice, Vocal, Strings
Don't Let That Horse.. by Christopher Berg. For medium voice solo with violin. Language: English. 30 pages. Published by Classical Vocal Reprint (CV.9014). With Language: English.
$20.00

Pages: 30
Instruments: Medium Voice, Violin, Voice, Vocal, Strings
Tell Out My Soul, The Greatness Of The Lord by K. Lee Scott. For Strings, woodwinds, optional harp/handbells. Score. Published by Concordia Publishing House (CR.97-6253U1).
$20.00

Instruments: Harp, Percussion, Handbell, Strings
Genres: Christian, Religious
Our Father, Who in Heaven Reigns by Dietrich Buxtehude (1637-1707). For 2 violins, cello. Full score. Published by Concordia Publishing House (CR.97-7145U1).
$20.00

Instruments: Violin, Cello, Strings
Genres: Baroque Period, Christian, Classical, Religious
Duo for Violin and Piano. (Performance Set). By Roger Huntington Sessions (1896-1985). String Solo. 52 pages. Edward B. Marks Music #MS1094. Published by Edward B. Marks Music (HL.8373).
$20.00

Pages: 52
Instruments: Piano, Violin, Piano and Keyboard, Strings
Concerto No. 3 in B Flat Major by Carl Stamitz (1745-1801). Arranged by Bruce R. Smith. Flute Choir. For Solo Clarinet, 2 flutes, alto, contra bass flute. Grade 4. Published by BRS Music (BY.FC-317).
$20.00

Instruments: Flute, Double Bass, Woodwinds, Strings
Genres: Classical, Classical Period
Canon and Gigue for Four Cellos by Johann Pachelbel (1653-1706). For 4 cellos. Published by Elegant Cello (EL.PACHELBELFOURCELLOS). Finally, revenge of the cellists! A four-part version of the famous Canon where cellos one, two and three play the coveted violin lines. (Part four is the infamous ground bass line necessary to a complete performance!) The Canon is well within the reach of intermediate cellists and maintains the original key of D Major. Pachelbel wrote a short and delightful Gigue along with his famous Canon. The Gigue is included in this transcription for four cellos.
$20.00

Instruments: Cello, Strings
Genres: Baroque Period, Classical
By Daniel Kallman. For piano and 2 violins. Chamber Music. Medium/Medium-Difficult. Published by MorningStar Music Publishers
$20.00

Instruments: Piano Accompaniment, Violin, Piano, Piano and Keyboard, Strings
Genres: Christian, Religious
An Ark of Stars (from So Many Corners) (Full Score) by Elizabeth Alexander. For Soprano voice and Orchestra (Soprano voice solo, 2.2.3.2,2.2.0.0, timpani, percussion, piano, celeste, harp, strings). Moderately Advanced. Full Score. Duration 3 minutes. Published by Seafarer Press (SF.SEA-040-03). This 3-minute movement from "So Many Corners" is a showpiece for a dynamic soprano. The simple words of Rose Auslander, who spent the Second World War in the Czernowitz ghetto, speak volumes about hope and restoration: "In the ocean waits an ark of stars, for the surviving ashes after the flood of fire." Elizabeth Alexander's musical setting of Auslander's stark and compelling words pours forth with delicacy, ferocity and compassion.
$20.00

Instruments: Piano, Harp, Percussion, Timpani, Soprano Voice, Piano and Keyboard, Strings, Voice, Vocal
Genres: Classical
Three Rose Auslander Songs (full score) by Elizabeth Alexander. For Soprano voice and Orchestra (Soprano voice solo, percussion, piano/celeste, harp, strings). Advanced. Full Score. Duration 8 minutes. Published by Seafarer Press (SF.SEA-040-05). Three songs of longing, loss and love, based on poems by Rose Auslander, who spent the Second World War in the Czernowitz ghetto. Alexander sets Auslander's stark and compelling words to music with delicacy, ferocity and compassion. (These songs, scored for soprano, percussion, piano/celeste, harp and strings, are the central movements of a larger work for soprano and full orchestra, "So Many Corners.").
$20.00

Instruments: Piano, Harp, Percussion, Soprano Voice, Piano and Keyboard, Strings, Voice, Vocal
Genres: Classical
With Heart and Voice by David Gillingham. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, 2, 3, Bass Clarinet, Contrabass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1/2, F Horn 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba, Piano, Timpa). Band Music. Grade 4. Score only. Duration 9:00. Published by C. Alan Publications (CN.05321). With Heart & Voice was commissioned by Apple Valley High School Bands, Scott A. Jones, director (Apple Valley, Minnesota), to commemorate the 25th year of existence of this high school. Apple Valley High School's strong commitment to the arts was a major factor in my decision to take on this commission. After visiting the school in December of 2000 and meeting many of the students, faculty, and administrators, I became greatly inspired.Thematically, the work is based on the Apple Valley High School Alma Mater, an old Spanish hymn which has made its way into most church hymnals under the name of "Come, Christians, Join to Sing." It is perhaps fate that this hymn, a particular favorite of mine, happens to be the tune used for the Alma Mater. Christian Henry Bateman wrote the words for the hymn in 1843 and the first verse contains the line, "Let all, with heart and voice, before his throne rejoice." Hence, the title, With Heart and Voice. What better way to celebrate 25 years of this great high school than with our "hearts" and "voices." The "voice" in this case is the music and the "heart" is the emotion that the music renders in celebration. Although the work is largely celebratory in nature, it begins with a feeling of reticence and apprehension, much like the beginnings of Apple Valley High School. It was at one time only an idea or perhaps only a sketch in the mind of the architect. Small fragments of the Alma Mater are heard in the opening moments of the piece. The piece gains momentum, texture and volume in this opening section culminating in a dramatic statement of the first four notes of the theme. A calmness follows and a lyrical flute solo enters. This new material represents the uniqueness of the "mission" of a new school which will have roots in academic excellence and commitment to the visual and performing arts. The euphonium echoes the flute and soon more instruments join in and the section culminates with a dramatic fanfare. This is followed by a transitional section with much dissonance and rhythmic activity, equated to the challenge of bringing life to this new school. A glorious statement of the Alma Mater follows signifying the dedication of Apple Valley High School, twenty five years ago. The ensuing section begins as a fugue with underlying unsettling rhythmic activity in the percussion. The obvious reference of this section is the challenge-maintaining the goals and mission of the high school. The section becomes frantic and desperate, but soon subsides into peacefulness. The peacefulness is stated by the marriage of the "Alma Mater " theme and the "Mission" theme. . .after all, for the High School to survive, it must never forget its mission. An extended finale follows which celebrates both themes in playful, joyful, and dramatic exuberance.
$20.00

Instruments: Piano, Baritone Voice, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Bass Trombone, Euphonium, Percussion, Tuba, Piano and Keyboard, Voice, Vocal, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet, Trombone
Chamber Symphony No. 2 for Bassoon (Bassoon Feature). By Daniel McCarthy. Arranged by A. Dancy. Chamber Ensemble. For Solo Bassoon, Chamber Winds & Percussion (solo bassoon, flute, oboe, soprano saxophone, clarinet in Bb, bass clarinet, bassoon, horn in F, percussion (maracas, temple blocks, suspended cymbal, tam tam, bongos, castanets, triangle), marimba (4.5-octave), double bass). Medium difficult. Score only. Duration 16:00. Published by C. Alan Publications (CN.05861). Chamber Symphony No. 2 for Bassoon and Winds was commissioned for Barrick Stees by the Michigan State University Bands, John Whitwell, Conductor. This piece follows the format of McCarthy's Chamber Symphony (No. 1) for Marimba and Winds, a virtuosic composition for solo instrument and chamber ensemble that has more musically involved accompaniment than implied by the term "concerto."Daniel McCarthy met Barrick Stees as a colleague at the Interlochen Summer Arts Festival (Interlochen Arts Camp, Interlochen, Michigan) in the summer of 1995. Since that time, McCarthy and Stees have worked together on numerous recording and performance projects - most recently, the recording of another commissioned work of McCarthy's by Stees, All the West Was Moving (Centaur Records: Barrick Stees and The Arianna String Quartet).For Chamber Symphony No. 2, McCarthy prefers the multi-movement format, six movements of varying lengths. Similar to some of Beethoven's late string quartets, McCarthy uses two shorter movements as introductions to others, namely the two "Interludes." The outer two movements are programmatic, whereas the interior movements are much more classically conceived.Movement 1: "Stomp and Buc Dance"Having grown up in Northern Michigan, McCarthy has a special affinity for the autumn season. Several of his teachers from the Interlochen Academy (where McCarthy graduated in 1974) are avid hunters. The deer-hunting season for many in northern Michigan is sacred. One hears of the so-called "deer camps" where hunters have wild parties (far enough from their hunting sites as to not "spook" the animals).McCarthy imagines Deer, Buck, and Elk parties at the end of hunting season, when the animals, after another season of successfully avoiding the hunters' bullets and arrows, dance wildly around their own camp fires, drinking deer-beer and mocking the hunters in the dim fire light.Movement 2: "Interlude""Interlude" introduces a softer, darker, less humorous music than the first movement. It offers a transition to a much less programmatic third movement in comparison to the first.Movement 3: "Mechanique""Mechanique" is a study in angular intervals for the solo bassoon. The rhythmic animation in the solo with the motoric doublebass and marimba accompaniments give the music a mechanical sound that is (perhaps) associated with an etude.Movement 4: "Interlude: Creep"The second "Interlude," this time with the subtitle: "Creep" is inspired by the second movement of J. S. Bach's Suite No. 3 in D Major (Air on the G String). The inspiration for this interlude is textural: a long, sustained melody in the treble above a punctuated, quasi-jazz pizzicato bass and marimba bass line that "creeps" and crawls its way beneath the ensemble. It is the only movement without the bassoon solo.Movement 5: "Static"A somewhat improvisational, rhapsodic sounding piece, "Static" is a study in repeated notes and fast tonguing for the wind instruments. The "static" repetition of pitches creates a percussive effect that is juxtaposed with a mosaic of wide-interval motives.Movement 6: "Fire, Dance, and Wahbekanetta"This movement, like the first, is about wild-eyed, nocturnal parties in Michigan's northern wood. In 1969, the composer attended the National Music Camp as a trumpet player and later, the Interlochen Arts Academy from 1970-1974. He later joined the faculty of Interlochen Arts Camp in 1995. McCarthy was born very near Interlochen, in a small village of Onekoma on Portage Lake. The summer is the time for the composer to return to the land of his youth, a chance to escape the rigors of academe, to be with friends. Memories.
$20.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Soprano Saxophone, Horn, Double Bass, Percussion, Marimba, Woodwinds, Clarinet, Saxophone, Brass, Strings
Genres: Classical
Orpheus in the Underworld by Jacques Offenbach (1819-1880). Arranged by J. Bishop. For Full or String Orchestra (flute, oboe, Bb clarinet 1, Bb clarinet 2, bass clarinet, bassoon, F horn 1, F horn 2, Bb trumpet 1, Bb trumpet 2, trombone, tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (3, players) (snare drum, bass drum, crash cymbals)). String Music. Grade 3. Score only. Duration 2:50. Published by C. Alan Publications (CN.06601). Here is a strong arrangement at the medium-easy level that offers you all the excitement of the original! With cues given to cover all the wind parts, this really can be done with strings only or as a full orchestra. From the mysterious opening, to the "Can-Can" dance, to the big finish, this one has it all.
$20.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Strings, Trumpet
Genres: Classical
Chamber Symphony No. 3 for Clarinet. (Clarinet Feature). By Daniel McCarthy. For Solo Bb Clarinet & Chamber Ensemble (Solo Bb Clarinet, Flute, Oboe, Bb Clarinet, Bass Clarinet, Bassoon, F Horn, Bb Trumpet, Trombone, Tuba, Percussion 1-2 (crotales, suspended cymbal, low tom, timbales, bongos, temple blocks, finger cymbals, maracas, timpani, shaker), Piano, Violin I, Violi). Medium difficult. Score only. Published by C. Alan Publications (CN.08601). Chamber Symphony No. 3 was written for the Cleveland Chamber Symphony and clarinetist Kristina Belisle. This is the third work by McCarthy titled "Chamber Symphony" written for a soloist and chamber group. The term is used instead of "concerto" due to a more virtuosic approach to the ensemble writing so that ensemble and soloist are intimately involved. Chamber Symphony No. 1 for Marimba and Winds and Chamber Symphony No. 2for Bassoon and Winds are recorded on Klavier Records by the North Texas Wind Symphony conducted by Eugene Corporon. The six movements were written during a dark period of the composer's life involving several family deaths and deep personal struggle. The second movement, Holy Ghost, is a remembrance of McCarthy's mother, a strong woman of faith who died in the summer of 2002. A Voice in the Dark depicts the reality of living with the specter of those who have passed. TanzMusik, a lively dance movement, is perhaps a bit sarcastic. It is about trying to dance the lively dance in the midst of profound doubt and struggle.
$20.00

Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, Violin, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Brass, Strings, Trumpet
Genres: Classical
Point of Reckoning by David Gillingham. For String Orchestra (violin I, violin II, viola, violoncello, contrabass). String Music. Grade 5. Score only. Duration 8:00. Published by C. Alan Publications (CN.08411). Point of Reckoning was commissioned by Hazel Cheilek, conductor/director emeritus of the renowned orchestra at Thomas Jefferson High School of Science and Technology in Fairfax, Virginia. The work seeks to define the particular moment in one's life when there is a realization of one's mortality and a force bigger than humankind that is all-knowing and ever-present. My Christian background has inspired the use of the hymn "O For a Thousand Tongues to Sing" ("Azmon"), words by Charles Wesley and music by Carl Glaser. The work begins quite frantically and in confusion with motives of the hymn occurring sporadically. The hymn emerges mysteriously, but is upstaged again by anger and confusion and culminates in ten hammered articulations of a strident sonority. A slow, lyrical section follows, again utilizing motives of the hymn within a texture of rich diatonic clusters. The tempo of the first section segues with the frantic confusion returning only to be overwhelmed by a dramatic presentation of the hymn by the 2nd violins and lower strings accompnied by a very rhythmic ostinato in the 1st violins. The work progresses to a joyous coda. Wesley's first and fourth verses of the hymn were a point of inspiration for this work:O for a thousand tongues to singMy dear Redeemer's praise,The glories of my God and King,The triumphs of His grace.He speaks, and listening to His Voice,New life the dead receive;The mournful broken hearts rejoice,The humble poor believe.
$20.00

Instruments: Violin, Cello, Viola, Double Bass, Strings
Genres: Classical
Providence by David Gillingham. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Eb Contrabass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Tr). Grade 5. Score only. Duration 9:50. Published by C. Alan Publications (CN.09961). Providence was commissioned by the Michigan State University Bands, John Whitwell, conductor. The work was originally to be in honor of the retirement of long time Theory Professor, Dr. Ted Johnson. Unfortunately, Dr. Johnson passed away on April 21, 2003, before any sketches of the new work had begun. I had spoke with Dr. Johnson some months before his death about the work that would be in his honor, asking him what kind of work he thought I should write. His response was basically to leave the creative endeavor in my hands as he knew and admired my music. He did add, however, that he was a bit old fashioned and had an affinity for the dramatic music of the Romantic period, especially the soaring horn parts written by Richard Strauss. As it turns out, I have featured the horn section in this work.Dr. Johnson touched a multitude of lives during his career. I was but one of hundreds of graduate students that was positively touched by his humanity and superb teaching skills. I will be eternally grateful, as will so many others. Richard Blatti, Associate Director of Bands at The Ohio State University sums up his feelings for Dr. Johnson as follows:"...it's more than theoretical concepts or analytical techniques that you taught me. You gave me such inspiration, a renewed love for learning, a fresh approach to problem-solving. . .and the greatest gift of all. . .you taught me how to teach."Dr. Johnson lived an extraordinary life and had such a major influence on so many other lives. His wonderful life and the gifts that he passed on were no accident. John Whitwell, Director of Bands at Michigan State University, has told me that such things happen because of "divine guidance" or "providence". This is the derivation for the title of the work.Ted Johnson authored two books, which were analyses of J. S. Bach's Two-Part and Three-Part Inventions. We all knew how much he revered the work of Bach. Three works by J. S. Bach were performed at his memorial service on April 24, 2003. One of these works, the aria Bist du bei mir ("Stay Thou Nearby"), is perhaps one of Bach's most beloved melodies. I chose this work to be the centerpiece for all the melodic material in Providence.The work begins in a sort of questioning fashion, as a man questions the meaning of his own life. The oboe sings the first four notes of the aria (Bist du bei mir) with an octave displacement of the fourth note. This motive is heard throughout the piece. The mystery and questioning grows and segues into a murmur by clarinets and marimba over which a can ensues on motives derived from the aria. At the conclusion of the canon, low brass state the beginning of the aria and a fugato on the first four notes of the aria follows. The fugato concludes with dissonant confusion but resolves into consonance and leads to a lovely statement by solo flute accompanied by harp. The melodic material for the flute solo is new and its lyrical and expressive quality alludes to spirituality and the meaning of life that we all seek. Turmoil follows as if to remind us of the ultimate reality of the tribulations of life. Counterpoint and dissonance abound in this section along with a pounding solo by timpani leading to a dark march on the first three notes of the aria. The march grows incessantly and finally leads to a joyous entrance of the aria theme by the horns and is now joined by the flute solo heard earlier, this time in the low brass. Woodwinds accompany on a sort of ostinato fashioned from aria motives. The section affirms that providence does, in fact, exist in our lives. A quiet benediction brings the work to closure.- DRG.
$20.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Dances from the Age of Aquarius by Carolyn Bremer. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Contrabass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1/2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Trombon). Band Music. Grade 4. Score only. Duration 11:00. Published by C. Alan Publications (CN.11261). "Dances from the Age of Aquarius" is based on common dances of the 1960s: the mambo, twist, slow dance, and surf rock.
$20.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Three Vignettes by David J. Long. Chamber Ensemble. For Violin, Cello & Piano. Chamber Music. Version 2. Medium difficult. Score and parts. Duration 7:00. Published by C. Alan Publications (CN.11550). "Three Vignettes" is a single-movement work for violin, cello & piano that divides into three contrasting sections (or vignettes) - the first is rather dark and rhapsodic, the second is beautifully flowing and driving ahead, and the third features driving ostinatos and merges the themes from the previous two sections.
$20.00

Instruments: Piano, Violin, Cello, Piano and Keyboard, Strings
The Dream Net. (For Alto Saxophone and String Quartet). By Warren Benson. Chamber ensemble. For Alto Saxophone, Violin I, Violin II, Viola, Cello. Premiere: May 23, 1975 at Lutken Hall, Northwestern University, Evanston, Illinois - Frederick Hemke, saxophone, and the Eckstein Quartet with Samuel Magad, violin, Edgar Muenzer, violin, Robert Swan, viola, Dudley Powers, cello.. Score and part(s). Standard notation. 28 pages. Published by Theodore Presser Company (PR.114401760). With Standard notation.
$20.00

Pages: 28
Instruments: Alto Saxophone, Violin, Cello, Viola, Saxophone, Woodwinds, Strings
Genres: Classical
Sonata (For Violoncello and Piano). By Ludwig van Beethoven (1770-1827). Edited by Dimitry Markevitch. For Cello, Piano. Solo part with piano reduction. Standard notation. Opus 64. 55 pages. Published by Theodore Presser Company (PR.114402180). With Standard notation.
$20.00

Pages: 55
Instruments: Piano, Cello, Piano and Keyboard, Strings
Genres: Classical, Classical Period
Trio. (For Piano, Violin, and Violoncello (Score)). By George Rochberg. Chamber ensemble. For Violin, Cello, Piano. Full score (large). Standard notation. 74 pages. Duration 23 minutes. Published by Theodore Presser Company (PR.114404280). With Standard notation.
$20.00

Pages: 74
Instruments: Piano, Violin, Cello, Piano and Keyboard, Strings