SKU: A0.1206708

My arrangement for String Quartet of the traditional tune 'The Miller of Devon' also known as 'The Miller's Three Sons'.

SKU: A0.1356141

Cuarteto de cuerdas en dos movimientos, de lenguaje moderno y armonias ambiguas, con paisajes pentatonicos en el primer mov. y de kirtan (Musica devocional hindu)  en el segundo movimiento.

SKU: A0.584477

The first big hit for the De-evolution Of Man band, also known as Devo. In the original key from their Freedom of Choice LP, the song is a fun piece of music that reminds you of how fun the 80s were. Duration = 2:30. Visit my websites: http://jefftincher.wixsite.com/sheetmusic, http://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.

SKU: A0.1370038

This hauntingly beautiful chorus from Rachmaninoff's Vespers is arranged for string quartet or ensemble. Ideal for intermediate-level musicians, with limited shifting to higher positions. Student ensembles can focus on tone, vibrato, dynamic contrasts, and listening to inner parts. Cathedral-quality sound when performed in a space with natural reverb.

SKU: A0.1487539

Nadia's Theme was originally used as incidental music for the 1971 film Bless the Beasts and the Children but has come to be better known as the theme music for the TV soap opera The Young and the Restlass. The song was also associated with Olympic gymnast Nadia Comaneci during the 1976 Summer Olympics. It's a beautifully melancholic melody with a simplistic sincerity that can stir deep emotions. It is well-suited for strings, and in this String Quartet arrangement, each of the 4 instruments gets a chance to voice the melody.

SKU: A0.1013553

Theme from The Young and the Restless, originally entitled Cotton's Dream and renamed in honor of Romanian gymnast Nadia Comăneci. Simple but beautiful arrangement for string quartet. Full score (4 pages) plus individual parts (1 page each.).

SKU: S9.Q778767

My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works ranging from the (in my opinion) quasi revolutionary Quartet No. 1 to the Quartet No. 5 entitled Versuch über die Fuge [Attempt at a Fugue]. The Quartet No. 6 – Study on Beethoven – composed fourteen years after No. 5 should be conceived as a new approach and the commencement of a new quartet cycle with an unknown ending. All that can be said is that the subsequent quartets will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Despite a reverence for Beethoven at a very early stage, my own compositions have steered well clear of this unapproachable cosmos with the exception of my concert overture Con brio. The perhaps only link with the five quartets of the first cycle of quartets is the single-movement structure of the thirty-minute Quartet No. 6. The fundamental coordinates have otherwise been reset to zero. This is therefore also a ‘study’ in a literal sense. In the Quartet No. 6, I set out with a state of tonality displaying significant extensions whose centrifugal forces are barely containable. My focus is the detection of the inherent gravitation of tonality, including phenomenons such as tension/relaxation, suspension/resolution and fixation/deviation. From a formal aspect, the work is too experimental and unsentimental for explorations in a nostalgic-romantic sense. On the contrary, tonality or at least its fundamental assumptions are initially set down in the sense of a study or test assembly in order to permit subsequent experimentation, variation and the formulation of exceptions with the desire and firm conviction that it is possible to express something innovative and never previously heard with this seemingly exhausted fundamental material. I have been repeatedly astonished by the unfolding in the progression of this piece which has taken me to unknown locations, especially from a formal aspect. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. The Quartet No. 6 has been created in close artistic and friendly cooperation with Anne-Sophie Mutter and she is the dedicatee of this work. Jörg Widmann, July 2019

My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works. The Quartet No. 6 composed fourteen years after No. 5 now opens a new cycle of quartets which will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Perhaps the only link with the five quartets of the first cycle is the single-movement structure of the almost thirty- minute Quartet No. 6. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. Jörg Widmann.

SKU: A0.780044