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Six Sonatas for Violin and Keyboard, BWV 1014-1019

Clássico/Sonata • Titulo arternativo: Sechs Sonaten für Violine und Cembalo
 
 
   
 

Score, Parte de solo

Título por Autor: Six Sonatas for Violin and Harpsichord (or Piano), BWV 1014-1019


Grátis

autor Library
PDF, 9.77 Mb ID: SM-000039575 data do carregamento: 06 out 2010
Instrumentação
Piano, Cravo, Violino
Composição para
Solo, Piano de Acompanhamento
Tipo de composição
Score for two performers, Parte de solo
movimento(s)
1 para 6 de 6
dificuldade
Advanced
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parte Solo

Título por Autor: Six Sonatas for Violin (or Viola) and Keyboard – Viola Part, BWV 1014-1019


Grátis

autor Library
PDF, 2.08 Mb ID: SM-000081362 data do carregamento: 09 nov 2011
Instrumentação
Viola
Composição para
Dueto
Tipo de composição
Score for two performers
Arrajador
Friedrich Hermann
Editora
Breitkopf und Härtel
dificuldade
Advanced
Gênero
Clássico/Arranjo
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Arrangement for soprano saxophone and keyboard

Título por Autor: J. S. Bach: Six Sonatas, arranged for soprano saxophone and keyboard by Paul Wehage, BWV 1014-1019


64.95 USD

vendedor Musik Fabrik
PDF, 4.54 Mb ID: SM-000294267 data do carregamento: 14 ago 2017
Instrumentação
Piano, Saxofone soprano
Composição para
Solo, Piano de Acompanhamento
Tipo de composição
Score for two performers, Parte de solo
movimento(s)
1 para 20 de 20
Arrajador
Paul Wehage
Editora
Musik Fabrik
dificuldade
Advanced
duração
75'0
Ano de composição
1720
n 1720 J. S. Bach was in the service of Prince Leopold of Anhalt-Cöthen, serving as his Kapellmeister. Since the court of Anhalt-Cöthen was Calvinist, Church music was limited to congregational psalms and hymns. Bach’s work during this period consisted of writing chamber music for the Prince, who was an accomplished violinist, gambist and harpsichordist. Other works from this period include the Cello Suites, the viola da gamba sonatas, the Flute sonatas and the partita for solo flute and the Orchestral Suites.

The first five sonatas are in the four movement “Church Sonata” style. The first five sonatas all share the same principal of Slow-Fast-Slow-Fast with a generally unified three-voice “Trio Sonata” texture. Passages which include double stops have been arranged as grace notes, which should be performed rapidly, but with a sensitivity to creating the necessary resonance which suggest implied chords. 

The Sonata number 6 which is in a five movement form, including a central movement for Solo Keyboard. The first five sonatas all share the same principal of Slow-Fast-Slow-Fast with a generally unified three-voice “Trio Sonata” texture. Passages which include double stops have been arranged as grace notes, which should be performed rapidly, but with a sensitivity to creating the necessary resonance which suggest implied chords.
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