Free Scores to download (pdf)

violin and ensemble - free scores to download


Free scores to download

Music is for every­body. Sub­se­quent­ly every­body should have also access to scores and learn­ing mate­r­i­al. With this gen­er­al idea in mind I have uploaded a few of my tran­scrip­tions or arrange­ments of Tan­gos or oth­er known pieces with the final pur­pose to cre­ate  a free pool of notat­ed music for the cyprus vio­lin com­mu­ni­ty. (with­out of-course vio­lat­ing the intel­lec­tu­al or com­mer­cial rights of com­posers or pro­duc­ers)




El Entre­ri­an­no. Maybe one of the old­est tan­gos which is still in the reper­toire of Tan­go orches­tras was writ­ten by Rosendo Men­diz­a­bal, a pianist work­ing in a club, and was named, after one of their reg­u­lar clients who came from the province called Entre Rios, El Entr­erri­ano. The tan­go was writ­ten in the 1890s.

La cumpar­si­ta.  Tran­scrip­tion from  the World famous Tan­go com­posed in the cafe “La Giral­da” in Mon­te­v­ideo Uruguay in 1917 by a young stu­dent of archi­tec­ture Ger­ar­do Matos Rodrigues. He wrote  this Tan­go in 4/8 (rather a mil­i­tary march) for the orches­tra of Rober­to Fir­bo to play for the first time.  Was it mod­esty? shy­ness? fear of ridicule? who knows why he want­ed to remain anony­mous? Fir­po only knew that the name of the young com­pos­er was Ger­ar­do. It was only lat­er that the full iden­ti­ty of the author was known. Sev­en years lat­er, in 1924, Ger­ar­do was liv­ing in Paris and he met Fran­cis­co Canaro who had just arrived with his orches­tra. That’s when he found out that La Cumpar­si­ta was a major hit. The tan­go lyri­cists Enrique Maroni and Pas­cual Con­tur­si had added words to the tan­go and renamed it ‘Si Supieras’–If you knew. All of Buenos Aires was hear­ing, danc­ing, and demand­ing to buy the score for the tan­go that was seem­ing­ly every­where in shows, record­ings, and broad­casts. Short­ly after, La Cumpar­si­ta arrived in Paris where, in the full grip of the roar­ing 20’s, peo­ple danced charlestons, shim­mys, one-steps, bostons, and when the crowd asked for a tan­go, they danced La Cumpar­si­ta. From Paris La Cumpar­si­ta spread to the four cor­ners of the world and has since and for­ev­er after become syn­ony­mous with Tan­go.

Media Luz One of the very pop­u­lar tan­gos which togeth­er with Cumpar­si­ta, Choclo,El Camini­to, would become a par­a­digm of the Riv­er Plate music. It is com­posed by the Uruguayan Edgar­do Dona­to, a vio­lin­ist and com­pos­er com­ing from music fam­i­ly of Mon­te­v­ideo. Edgar­do stud­ied music with his father and in con­cer­va­to­ry called Franz Lizst. He soon start­ed his car­ri­er play­ing as a vio­lin­ist  in sev­er­al Clas­si­cal and Jazz and Tan­go groups and par­al­lel to that he com­posed sev­er­al Tan­gos among them “A media luz”, “Julián”, “Mucha­cho”, “El huracán”, “T.B.C.” and oth­ers, also impor­tant, such as “Se va la vida”, “Por mi vieji­ta”, “El aco­mo­do”, “Mi ser­e­na­ta”, “Beba”, “Volvé” etc. «I com­posed A media luz dur­ing a trip on street­car», its com­pos­er said, and it was pre­miered in Mon­te­v­ideo, on a musi­cal revue named Su Majes­tad la Revista, with the voice of the Chilean vedette Lucy Clo­ry. Soon lat­er was record­ed by Fir­po, Canaro and Gardel.

Noc­tur­na Com­posed by Julian Plaza. One of the most dis­tin­guish­ing per­son­al­i­ty in the his­to­ry of tan­go. The pianist, ban­do­neon play­er com­pos­er and arranger has man­aged to organ­i­cal­ly inte­grate in his music var­i­ous ele­ments of dif­fer­ent styles.

Lib­er­tan­go. Per­haps one of the most famous pieces of Astor Piaz­zol­la was record­ed and pub­lished in Milan in 1974. Reed­it­ed and repub­lished sev­er­al times with a var­i­ous instru­ment ensem­bles. Quite known (except of the orig­i­nal with Asto Piaz­zol­la) are the record­ings made with Al di Meo­la and Yo — Yo ma.


Cyprus traditional music


Find below few of the most known tra­di­tion­al Cypri­ot songs tran­scribed in the Euro­pean nota­tion Sys­tem.

To Tragoudin tou gamou — Wedding song  (Cyrpiot traditional).

One of the most well known Cyr­pi­ot tra­di­tion­al. Even today it is very fre­quent­ly played in “alla­ma­ta” in the prepa­ra­tion of the groom and bride for church and some­times in the way to church. The lyrics of the song vari­ate (they are quite often  impro­vised) depend­ing always in the sit­u­a­tion. Find below a sam­ple of them.

To tragou­di tou gamou




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