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Concert etude for solo viola III.

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Concert etude for solo viola III.

  1. 1.   Viola    [A] Rubato              lunga        3      10                              15                              20                                 poco a poco accel.30    31                        a tempo                             40        44                     50                                        60      62     3                  lunga        Pochissimo piu mosso     3 70            3          3          3           3              3 80            3            3            3            3           390           3           3 ad lib.               3    98                3 100                 A Tempo I. Rubato                  3  110                   116                               allarg.      120     a tempo                        127                           130         a tempo            lunga              Concert etude for solo viola No.3 Dr Hristo Tsanoff, DM © tsanoff-classic.com lunga allarg.
  2. 2.         140                            [B] Allegro ma non tanto                           3 3 3 3  150      3         153           3 3 3 3       3                                                 160                     164                                              3 3 3 3 rit.     a tempo170                          174                                   3 3 3 3            3 3 3 3             3 3 3 3          180                 185                                  190                                     195                           3 3 3 3 rit.     a tempo                200                                     206                                     [C] Scherzando 210                                        214                                             Poco piu lento         220           223                                   230                    L'istesso tempo 2 Concert etude for solo viola No.3
  3. 3.   233                                                                           239                          240                      Poco piu lento                  247         3 3         3 3          250                              3 3           3 3      258          3 3            L'istesso tempo    260                                       265                                     [B1]                        270                                    3 3 3 3   274            3 3 3 3             3 3 3 3                                  280            283            3 3 3 3 rit.             3 3 3 3 a tempo                         290                         294                                                      300                                    305              [A1] A Tempo I. Rubato                310       lunga                         3Concert etude for solo viola No.3
  4. 4.               320                                               330         333                                          poco a poco accel.                           a tempo  340     342                                       Pochissimo piu mosso     3        350     3           3          3            357    3        3       360     3            3           3            3           3       370     3           3[D]     374            Tempo ad libitum CADENZA (| )                                                         Largo           380 4 Concert etude for solo viola No.3
  5. 5. Giving of works for charity: The works are to be granted for non-commercial performance in the following ways:  live  mechanical or electronic record  use of entire piece or parts of them in printed, radio or TV advertisement. We assure you that we will answer every single query.  peace keeping  health culture, fighting rare diseases, anomalies and epidemics  hunger fighting  educational activities  defending of men's rights ( fugitives, suffering from natural disasters, political pursuit, racialist or religious discrimination )  religious tolerance  art  defending of the sacred right of the artist - copyright ( includes also defense of software patents and fighting intellectual piracy)  others. More information: http://www.tsanoff-classic.com

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