String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987847 Composed by Robert M. Greenberg. 20th Century. Score and parts. 178 pages. Robert M. Greenberg #90283. Published by Robert M. Greenberg (A0.987847). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 33 minutes Year of composition: 1995 Program Note: I. With Friends Like These II. Inner Voices III. Little Hands and Little Feet IV. Freund Barry V. Friendly Persuasion VI. All For One and One For All I've known the Alexander String Quartet since 1987. More than just colleagues, they have become my friends: I've traveled with them, performed with them, watched them rehearse, dined with them in their homes and they in mine; I know their children and they know my children. Throughout the time I've known the members of the quartet I have observed the relationship between them, that special bond shared by the members of any touring band, described by one pundit as being like a bad marriage with no sex. Such issues notwithstanding, this particular marriage works. A string quartet represents, perhaps, the ultimate musical compromise between individual incentive and the common good. In a string quartet, by definition, four distinct instrumental voices and four different instrumental roles unite to create a whole greater than its parts. And, lest we forget, behind each instrument is a person, with his own particular attitudes, feelings, needs, and, yes, issues, all of which must be tempered and blended for the common good of a good performance. Among Friends is, its liberties aside, about the four people behind the instruments of the Alexander String Quartet and their relationships with one another; the way they play, rehearse, get along and, on occasion, not get along. The first movement, With Friends Like These is gritty and contentious in tone. The players argue, debate, annoy, tease, irk, cajole, abuse, harass, form brief alliances, heap merde upon, gang up on, and otherwise find endless ways to irritate each other. It is in this movement that the individual characters of the four instrumental parts stand in highest relief: the first violin as coloratura prima donna, forever attempting to soar above it all; the second violin as the voice in the wilderness, the viola as the voice of reason and the 'cello as mover and shaker. The opening of the movement is marked argument in progress; with greatest intensity. The second, third and fourth movements are a series of portraits, played without a break. In movement two, Inner Voices, the second violin and viola are featured in a collegial and decidedly non-contentious dialogue. Movement three, Little Hands and Little Feet, is the quiet center of the quartet. It is here that the first violin finally attains the lyric heights vainly sought in the first movement. The fourth movement is a vigorous dance entitled Freund Barry. This movement honors three great friends: Dr. Barry Gardiner, whose friendship and support made the writing of this quartet possible; Gustav Mahler, whose Symphony No. 4, second movement (Freund Heine) inspired this one; and Sandy Wilson, who first encouraged me to compose my second string quartet (Child's Play) for the Alexander in 1987 and whose boisterous 'cello is Freund Barry's alter-ego. The fifth movement is entitled Friendly Persuasion. Rapid fire repeated notes, accompanimental figures and melodic lines are shuttled about from voice to voice, each time elaborated or altered in some way. In this way the music slowly metamorphoses, ultimately arriving at a version of the argumentative music that concluded the first movement. Movement six, All For One and One For All is a fast, brief coda/finale, during which the quartet plays primarily in unison, the musical antithesis of the contentious argument that began the quartet. Among Friends was commissioned by the Koussevitzky Foundation in the Library of Congress and the Alexander String Quartet. Among Friends i.

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938426 Composed by Colin Bayliss. 20th Century. Score and parts. 74 pages. Colin Bayliss #11311. Published by Colin Bayliss (A0.938426). The work was completed on February 2nd 1970 and is the first piece to be retained by the composer after he had destroyed all his earlier compositions. The Score is available as a separate download The following is taken from the catalogue of the composer's works:- The photocopy of the MS is marked String Quartet No. 1, but is not regarded by the composer as part of his mature string quartet writing. The MS itself was lost in a fire at the home of Col. Robert Tong, formerly Registrar of Queen Mary College, University of London. A typesetting was made in November 2000 as the photocopy had faded so badly. The composer's sketch books suggest that the movements were written in the order 3,2,4,1. 1. Allegro 2. Scherzo (Allegro energico) Trio I - tempo di menuetto Trio II - no tempo indicated - [andante] 3. Andante con moto 4. Allegro ma non troppo Composer's note:- As the above suggests, I originally had no intention of publishing this early piece. The recording by the Lochrian String Quartet of the six numbered quartets, however , together with sleeve notes admitting the existence of this work, prompted me into revising my opinion and allowing its publication, so that anyone wishing to study this first effort may do so. It shows certain traits that I was to develop in the six quartets and others that I was to discard, and therefore is of musicological interest. It also has a few good, albeit imitative, tunes! Duration: Approx. 25 mins. COLIN BAYLISS was born in Mansfield, Nottinghamshire in 1948. His life-long love of music led him to compose from an early age and he now has a catalogue of over a hundred works including two operas, four symphonies, six string quartets and many other pieces for most instrumental and chamber groupings, over seventy of them published. He is a member of the British Academy of Composers and Songwriters, the North West Composers' Association and the Performing Rights Society. As well as writing music himself, he has also compiled annotated catalogues of the works of Anthony Hedges and Sir Peter Maxwell Davies. CDs of his piano music played by David Martin and complete organ music played by Ronald Frost are available on the New Century Classics label. Please feel free to use these biographical and programme notes in your concert programmes.

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938424 Composed by Colin Bayliss. 20th Century. Score and parts. 46 pages. Colin Bayliss #11309. Published by Colin Bayliss (A0.938424). The work was completed on February 2nd 1970 and is the first piece to be retained by the composer after he had destroyed all his earlier compositions. The parts are available as a separate download. The following is taken from the catalogue of the composer's works:- The photocopy of the MS is marked String Quartet No. 1, but is not regarded by the composer as part of his mature string quartet writing. The MS itself was lost in a fire at the home of Col. Robert Tong, formerly Registrar of Queen Mary College, University of London. A typesetting was made in November 2000 as the photocopy had faded so badly. The composer's sketch books suggest that the movements were written in the order 3,2,4,1. 1. Allegro 2. Scherzo (Allegro energico) Trio I - tempo di menuetto Trio II - no tempo indicated - [andante] 3. Andante con moto 4. Allegro ma non troppo Composer's note:- As the above suggests, I originally had no intention of publishing this early piece. The recording by the Lochrian String Quartet of the six numbered quartets, however , together with sleeve notes admitting the existence of this work, prompted me into revising my opinion and allowing its publication, so that anyone wishing to study this first effort may do so. It shows certain traits that I was to develop in the six quartets and others that I was to discard, and therefore is of musicological interest. It also has a few good, albeit imitative, tunes! Duration: Approx. 25 mins. COLIN BAYLISS was born in Mansfield, Nottinghamshire in 1948. His life-long love of music led him to compose from an early age and he now has a catalogue of over a hundred works including two operas, four symphonies, six string quartets and many other pieces for most instrumental and chamber groupings, over seventy of them published. He is a member of the British Academy of Composers and Songwriters, the North West Composers' Association and the Performing Rights Society. As well as writing music himself, he has also compiled annotated catalogues of the works of Anthony Hedges and Sir Peter Maxwell Davies. CDs of his piano music played by David Martin and complete organ music played by Ronald Frost are available on the New Century Classics label. Please feel free to use these biographical and programme notes in your concert programmes.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1023447 Composed by Carlos Zambrano. Contemporary. Score and parts. 7 pages. Carlos Zambrano #6869767. Published by Carlos Zambrano (A0.1023447). Dodecaphonic piece No.1 for string quartet is written in the twelve-tone method and is generally built on a contrapuntal texture. The twelve-tone method was the result of the work of the composer Arnold Schöenberg, and consists of a method of composing with the 12 notes of the chromatic scale, and the relationships of these notes are regulated by a fixed linear order called tone row in which no note should be repeat.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1323546 By Franz Liszt. By Franz Liszt. Arranged by pfkaori. Classical. 5 pages. Pfkaorimusic #911773. Published by pfkaorimusic (A0.1323546). Composer: Franz Liszt Song: Liebestraum No.3 / Dream of Love No. 3 Orchestration: String quartet Level: Intermediate Key: Aflat score sheet *Boeing is not mentioned.

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938385 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 33 pages. Colin Bayliss #6135. Published by Colin Bayliss (A0.938385). This work was written between January and March 1997. It has thirteen short continuous movements, one for each note of the tone row and a resolution of the row into an adagio movement in C major. The movements are written in a time signature beginning with one beat to a bar and ending in 13 beats to a bar until the final section of the last movement. The number of bars for each movement is in multiples of 13, then 14 and onwards to 25. The harmonic language is dictated by the combinations of notes in the original row combining with a row with its inversions and retrogrades begun from the first note of each new section. The sections may be briefly summarised as follows:- 1. Adagio A basic statement of the row with its inversion and retrograde 2. Con brio A rhythmic miniature scherzo and trio 3. Allegretto Dynamic contrasts using pizzicato and glissando 4. Andante piacevole e mesto Aduet between the violins with accompaniment from the viola and 'cello 5. Agitato An atmospheric spiccato section interrupted by foot-stamping 6. Andante languido A barcarolle-like section with passages of col legno 7. Allegro A rhythmic section contrasted by passages in harmonics 8. Tempo di tango presto The tango is apt to slip into many of the composer's pieces, even where nominally 12-tone, and is never remotely serious! 9. Andante pastorale Another atmospheric section but more relaxed 10. Allegro molto A scherzando section using rhythmic retrogrades 11. Allegretto The music begins to pull into feeling of tonality around C 12. Allegro moderato This process continues with tremolandi and glissandi searching for the way to a diatonic C major 13. Molto adagio - adagietto The last traces of atonality are wiped away and the work ends in an unashamed sense of quiet triumph The Score and Parts are available on this site as separate downloads The sound sample is the second movement - performed by the Lochrian Ensemble The complete 6 string quartets performed by the Lochrian Ensemble are available on itunes: see: http://www.dwsolo.com/colinbayliss/ For this 4th quartet see: https://itunes.apple.com/us/album/colin-bayliss-string-quartet/id585288847.

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.889278 Composed by Mary Jane Lang. 20th Century. Score and parts. 32 pages. MaryJaneLang #2019995. Published by MaryJaneLang (A0.889278). This is not my first string quartet, but I think this is great program music; the titles of the movements (One of Those Daze, Reflections, Good Times) speak for themselves. The first movement explores rhythms and different meters (same pulse). The second movement is calming and reflective, like a prayer. The third movement is euphoric and probably the easiest one to play, which can be welcome if your group is giving a concert. Needless to say, the two outer movements are good for gigs such as receptions and parties. The score and each part is included in one PDF. Audio will be forthcoming upon being recorded.

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987079 Composed by Frederick Paul Naftel. Contemporary. Score and parts. 41 pages. Frederick Naftel #6255501. Published by Frederick Naftel (A0.987079). My 2nd String Quartet was composed during the current Coronavirus pandemic and its style is definitely affected by this period. I would describe the music as a strong statement of mind.   In complete contrast to my relatively straightforward 1st Quartet, which is in 4 movements, the present work is in one uninterrupted movement, divided into five parts, with an epilogue.   The intervals of the major 7th and minor 2nd are a strong feature of the music, which contrasts intensely static passages, which are nevertheless uneasily tranquil, with furious and violent sections, often marked triple forte in certain passages.   The opening Lento flows serenely but mysteriously as if awaiting some kind of resolution, using motifs rather than fully-fledged themes(of which there are very few). The viola makes an urgent and violent protest, later to be imitated by cello, as if to disrupt the serenity, until the second section bursts in with barely-controlled energy and fury.   This Allegro feroce is strongly accented and relentless in its forward momentum, the tension manintained almost throughout until the music suddenly quietens down, pizzicato passages leading to the next section.   The Adagio Sostenuto initially resembles plainsong, all four instruments in unison(muted) playing a smooth line which rises and falls, the dynamics remaining pp and senza vibrato. The line breaks into harmony based on the interval of a perfect 5th, eventually leading to a passage reminiscent of the very opening of the work. A brief crescendo leads to another quiet unison passage which becomes more fragmented and unsettled, first and second violins announcing an aggressive idea which becomes the initial impetus for the fourth section.   This Presto Furioso is even more violently energetic than the second section and at one point, alternates between 3/8 and 4/8, making the music sound even more unsettled. This is music with a strong sense of purpose as well as absolute fury. After a very short scalic passage, the final section begins Grave and pp with a sustained unison C, growing in power with exaggerated vibrato to a series of crunching discords and a wildly disconcerting episode featuring swirling upper strings and impassioned cello solo. The music dies away to the Epilogue.   The concluding part of the work calls for a recorded cello playing a pizzicato pedal, over which violins and viola play a series of overlapping (tonal) triads, giving the music a slightly warmer but still mysterious sound. The recorded cello’s pedal notes slow down until a final powerful discord from the 4 instruments dies away, leaving the sighing motif of the very opening of the work to have the last word.   This note may be reprinted in programmes with the following details: (c) 2020 Frederick Naftel    

String Quartet String Quartet - Level 2 - Digital Download SKU: A0.798083 Composed by Antonio Carlos Jobim. Arranged by Inacio Saldanha. Contemporary. Score and parts. 13 pages. Inacio Saldanha #5023901. Published by Inacio Saldanha (A0.798083). Chega de Saudade (Brazilian Portuguese: ['ʃega dÊ’i saw'dadÊ’i]) (published English version is No More Blues) is a bossa nova jazz standard. It is often considered to be the first recorded bossa nova song. The music was composed by Antonio Carlos Jobim and the lyrics were written by Vinícius de Moraes. João Gilberto's recording is the most famous.The song was first recorded in 1957 by Brazilian singer Elizete Cardoso and released on her 1958 album entitled Canção Do Amor Demais; however, the public took little notice of her release. João Gilberto included the second recorded version of the track in 1958. Released as a single, the song became a hit and would solidify bossa nova as a permanent genre in the Latin music lexicon. The song also appeared on Gilberto's first album Chega De Saudade.The title can be translated roughly as enough longing, though the Portuguese word, saudade, carries with it a far more complex meaning. The word implies an intensity of heartfelt connection that is yearned for passionately, not unlike feeling withdrawal symptoms from a drug that makes one feel good. Another good analogy might be an intense homesickness. Chega, in this case, means no more, enough.The song form is 64 measures. It is equally split between 32 measures in a minor key and the 32 measures in a major key. The key of the original recording by Elizete Cardoso went from D minor (the relative minor of F with one flat) to D major (two sharps).Arranged for String Quartet. Key of D. Early Intermediate.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1156553 Composed by Johann Sebastian Bach. Arranged by Sherry Lewis. Baroque,Classical,Wedding. 10 pages. Sherry Lewis Publishing #756878. Published by Sherry Lewis Publishing (A0.1156553). Minuet in G Major No. 1, J.S. Bach STRING QUARTET Intermediate Level for 2 violins, viola and cello Score: Yes Parts: 4 pages Time: 1:40 MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles. Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through https://baysbest.com/contact/and I’ll give you the link back to Sheet Music Plus’s listing. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!

String Quartet String Quartet - Digital Download SKU: A0.1025506 Composed by Brooke Richey. 20th Century,Contemporary,Instructional,Standards. Score and parts. 14 pages. Wasp & Fig Sounds #4821493. Published by Wasp & Fig Sounds (A0.1025506). Built from a tone-row, Paradox goes to highlight the tensions and strains we experience when trying to work with one another. The piece begins with the voices of each instrument in separate octaves, far and distanced. Gradually throughout the piece the notes and rhythms move closer and closer together. By use of a palindrome a paradox takes place, bringing the voices to move together in support of one another, characterized with a solo on the viola. From here all voices join on the same motif to close in tight rhythmic movement and dissonant harmonies.For more information about the composer, please visit waspandfigsounds.com

String quartet - difficult - Digital Download SKU: S9.Q771471 ‘hana no hanataba’. Composed by Julian Anderson. Downloadable. Duration 23 minutes. Schott Music - Digital #Q771471. Published by Schott Music - Digital (S9.Q771471). My 3rd String Quartet is in six contrasted movements. Certain musical figures recur across the work, but there are few themes as such. The main emphasis is on contrast of mood, texture, harmony, pacing and timing. Unlike many of my works this quartet had no extra-musical inspiration, and in principle should have no subtitle. Certain features already present in my music became more prominent in this new work: modes (limited collections of pitches) have always helped me to focus musical character, but here a sense of key note for each mode became much more pronounced, as did the difference between modes for each section of the work. A sort of hybrid key-system emerged (even with equivalents of major and minor) which is not normal tonality, nor does it aim to imitate it. Unlike tonality this key-system includes noises, extended performance techniques and intervals outside Western tuning as available resources. What I hope it does is to focus the listening experience onto different musical areas, to encourage a sense of both modulation from one area to another and to give the music a sense of goal. No conscious knowledge of this is needed when listening: the music should communicate directly on its own.Here, then, is this collection of six musical colours, related and unrelated, different yet belonging together, variable yet in a set order. Hence the subtitle, chosen both for both its sound and its sense: ‘hana no hanataba’ meaning, in Japanese, ‘bouquet of flowers’.A brief description:1)Moderately fast. Short droplets of sounds gather increasing momentum. 2)Very fast. Canons and bells at different speeds.3)Very slow – fast – very slow – very fast – very slow. The main slow movement and its main scherzo. An emphasis on non-tempered tunings and on inhaling and exhaling waves of sound. The slow sections feature florid melodic writing. In the exuberant scherzo competing duos and trios create imaginary folk music.4)Extremely fast/extremely slow. Open strings and harmonics fuse into a single string instrument – like a sort of large resonating Medieval tromba marina.5)Very fast. A variation on movement 2). Variation, Schoenberg told Cage, is just a sort of repetition ‘with some things changed and others not.’6)Slow - Very Fast - Fast – Slow. The opening calm harmonies and florid melodies evoke movement 3) in different music. The fast part features one overt theme: a fanfare-like call to attention which is subject to extensive development. There is much use of non-Western tuning. At its climax the music freezes into a frieze – a wall of sound standing in front of the audience with increasing obstinacy and certainty as the work grinds towards its cadence.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1356731 Composed by Frederic Chopin. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Romantic Period. 14 pages. Jmsgu3 #941372. Published by jmsgu3 (A0.1356731). The Prelude Op. 28, No. 15, by Frédéric Chopin, also known as the Raindrop prelude, is one of his most famous works. It is in D♭ major and was published in 1839. The prelude is noted for repeating notes reminiscent of raindrops to many listeners. It usually lasts five to seven minutes, making it the longest of the preludes. The piece has a serene opening theme and a middle section that evokes a sense of procession and lugubrious prayers. The B section contrasts the mood of the A section, and the piece is often described as melancholic and poetic. Despite being a major key, it is not a happy piece but somewhat nostalgic, thoughtful, and wistful. The prelude presents technical and interpretive challenges and is considered profound and musically tricky.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1469357 Composed by Giuseppe Torelli. Arranged by Ray Thompson. Baroque,Christmas. 8 pages. RayThompsonMusic #1045632. Published by RayThompsonMusic (A0.1469357). Alternative Title: Concerto à Quattro, in forma di Pastorale per il Santo NataleOften known as his Christmas ConcertoArranged standard string quartet.Giuseppe Torelli (1658–1709) wrote numerous and often imposing symphonies for use in the San Petronio Cathedral in Bologne well before the turn of the century.Furthermore, he was the first composer to write a concerto for solo violin and string orchestra (published at Augsburg, 1698), and his Concerti Grossi Op 8, which appeared in print shortly after his death, are the very first concertos for two solo violins. It is the sixth of these that contains the Christmas music. A solemn ‘Grave’ sets the scene for the Pastorale, marked ‘Vivace’ and cast in 12/8 metre, the two solo violins carrying much of the melodic interest. A meditative Largo leads to another ‘Vivace’ which is a Gavotte en Musette in all but name, its held bass notes strongly suggesting the drone of the shepherds’ pipes.This is my arrangement of the 3rd  movement.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1463113 Composed by Giuseppe Torelli. Arranged by Ray Thompson. Baroque,Christmas. 10 pages. RayThompsonMusic #1041866. Published by RayThompsonMusic (A0.1463113). Alternative Title: Concerto à Quattro, in forma di Pastorale per il Santo NataleOften known as his Christmas ConcertoArranged standard string quartet.Giuseppe Torelli (1658–1709) wrote numerous and often imposing symphonies for use in the San Petronio Cathedral in Bologne well before the turn of the century. Furthermore, he was the first composer to write a concerto for solo violin and string orchestra (published at Augsburg, 1698), and his Concerti Grossi Op 8, which appeared in print shortly after his death, are the very first concertos for two solo violins. It is the sixth of these that contains the Christmas music. A solemn ‘Grave’ sets the scene for the Pastorale, marked ‘Vivace’ and cast in 12/8 metre, the two solo violins carrying much of the melodic interest. A meditative Largo leads to another ‘Vivace’ which is a Gavotte en Musette in all but name, its held bass notes strongly suggesting the drone of the shepherds’ pipes.This is my arrangement of the 1st movement.