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Vous avez sélectionné:
Lydian Mode Fugue
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4 partitions trouvées
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Seven Pieces in Twentieth-Century Styles
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Piano seul
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INTERMÉDIAIRE
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James Siddons
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Seven Pieces in Twentieth-Cent
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and W...
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Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
$5.00
Anim Zemiros
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Chorale SATB
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AVANCÉ
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Stanley M Hoffman
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Stanley M Hoffman
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Anim Zemiros
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stanleymhoffman.com
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 5 - SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,...
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.
$3.00
Caprice for Strings
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Orchestre à Cordes
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INTERMÉDIAIRE
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P
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Caprice for Strings
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Pete Strohm Music
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.1380614 Composed by P. F. Strohm. 20th Century,21st Century,Classical,Contest,Festival. 56 pages. Pete Strohm Music...
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String Orchestra - Level 3 - SKU: A0.1380614 Composed by P. F. Strohm. 20th Century,21st Century,Classical,Contest,Festival. 56 pages. Pete Strohm Music #965392. Published by Pete Strohm Music (A0.1380614). Caprice for Strings  is a work for string orchestra from American composer P. F. Strohm.  With a difficulty level of 3.5-4, the work is ideal for high school groups looking for a concert or contest piece. The work is tonal, opening with a sorrowful song in g minor that turns into a whimsical waltz in G Major. The waltz returns to the sorrowful opening, which cadences but then sets off immediately into a G Major fugue. The fugue takes an unexpected turn during its development, shifting into a lydian mode that then transitions smoothly back into final exposition and conclusion of the fugue. Caprice for Strings is an exciting work for contest or concert, with a Medium-Advanced level of difficulty. Typical performance time is 8:44. Member, ASCAP.
$35.00
Lydian Mode Fugue
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Piano seul
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Classique
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Bela Bartok
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Nicholo Dela Pena
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Lydian Mode Fugue
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Nicholo Dela Pena
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SheetMusicPlus
Composed by Bela Bartok (1881-1945). Arranged by Nicholo Dela Pena. Romantic Period, Etudes and Exercises, Folk. 5 pages. Published by Nicholo Dela Pena (S0.456...
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Composed by Bela Bartok (1881-1945). Arranged by Nicholo Dela Pena. Romantic Period, Etudes and Exercises, Folk. 5 pages. Published by Nicholo Dela Pena (S0.45661). - - Romantic Period,Etudes and Exercises,Folk - Nicholo Dela Pena
$2.99
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Lydian Mode Fugue
