SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: PR.816600040
UPC: 680160600045. 5.5x5 inches.
This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.
About CD Sheet Music (Version 1)
CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.
SKU: CF.CAS7
ISBN 9780825847578. UPC: 798408047573. 8.5 X 11 inches. Key: D major.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista.The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color.Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
SKU: CF.BAS5
ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.
About Carl Fischer Beginning String Orchestra Series
This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: CF.SPS71
ISBN 9781491143544. UPC: 680160901043. Key: G minor.
Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,†Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind†blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship†or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower†sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska†is a partner dance where the dancers spin each other (släng in Swedish “to sling or tossâ€) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska†dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .
SKU: CF.BE10F
ISBN 9780825891175. UPC: 798408091170. 8.5 x 11 inches. Key: G major.
Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violins D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and cello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violinas D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and acello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violin's D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and 'cello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for SpeculumMusicae in 1981.The first movement, In Preparation, is a study in tuning and intonation and isbased on the open strings in perfectly tuned fifths, with the violin’s D stringtuned 294 hertz. The first moments of the piece provide opportunity to tuneto the tape part. (This tuning probably differs imperceptibly from a temperedtuning since the E string of the violin is only 1/33 of a semitone sharper then ina tempered system and the C strings of the viola and ‘cello 1/33 of a semitoneflatter.) Most subsequent pitches in the movement are either the open stringsor major and minor thirds above and below the open strings. The minor thirdswill be slightly sharp with respect to equal tempered tuning about 15 cents or1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or oneseventh of a semitone. Listen to the tape part as a guide. All harmonics in thismovement are to be played as natural harmonics and open strings are to be usedwhenever possible.In the second movement, At a Distance, the tape part largely doubles selectedpitches in the string parts and should be thought of as a backdrop rather thencounterpart. In this and the remaining movements equal tempered tuning is usedthough it will probably not be necessary to retune the instruments for this reasonalone.The third movement, In Practice, is a study in modes of performance particularlywith respect to rhythmic rigidity and flexibility. While the tape part may seemto bend and sway a great deal, the string parts are to be played with as muchrhythmic precision as possible. At many points it may be necessary to delay oranticipate beats in order to coincide with the arrival of beats in the tape part,though in general the quarter equals 120 is accurate.In the fourth movement, In Distinction, different kinds of musical conceptions arecounter-pointed and counter-posed. Here the beat is quite accurate although thenotation of the synthetic saxophone part is only approximate.All the tape parts are based on computer reprocessed violin except for parts ofthe fourth movement in which synthetic saxophone is used. The tape part wassynthesized on the IBM 3033 and 3081 computers at Princeton University andconverted at the Winham Laboratory. The violin source was performed by CyrusStevens.
SKU: UT.CH-387
ISBN 9790215328235. 9 x 12 inches.
Opus 114 is certainly one of Carulliâ??s most important didactic works, so much so that the author himself made a point of writing in the second edition of his famous Method op. 27 (1819): The student, when moving on to the second part, must continue to practise on the easy pieces which are to be found in opus nos. 50, 15, 35, 36, 93, 7 and above all in opus 114. He maintained this indication also in later editions of the Method itself, unlike what he did with other collections of studies which were no longer recommended.The purpose of op. 114, in particular of the preludes, is clearly explained by the author himself in the preface of op. 265: I have already offered preludes in my opus nos. 71 and 114 to people, but they serve to study and learn to play all sorts of difficult passages, to practise modulating, and learn to improvise on the guitar. Carulli seems to want to provide his students with a large handbook of formulas typical of his musical writing and he does so by making use of the keys which, in his opinion, are most congenial to the guitar. In his Method he points out: Each instrument has its favourite keys: the guitar can be played in all keys, but the best ones are: A major and minor, D major and minor, E major and minor, C, G, F. The others are difficult; [â?¦]. However, some of the difficult ones are included but only in the fourth part. Of course, the easiness of a key essentially depends on the possibility of extensive use of the open strings, especially in the low notes, ensuring the accompaniment on the main degrees.This edition has some unique features. First of all, it is the first complete modern edition of Carulliâ??s op. 114; it presents an important critical apparatus in which the Carullian technique is presented and analysed; finally, Carulli's original fingering is indicated in the score (including that of the thumb of the left hand) and the missing one was obtained from the comparison of his other fingerings present in other works. All this allows an easy and complete reading both for those who perform the pieces following the nineteenth-century performance practice with a historical instrument, and for those who play a modern instrument.
SKU: AP.49294
ISBN 9781470644680. UPC: 038081563381. English.
Authorized Asian Edition - Available ONLY in Asia. Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki violin teacher to develop their potential as a musician and as a person. This Suzuki Book & CD (Asian Edition) is integral for Suzuki violin lessons. This revised edition of the Suzuki Violin School, Volume 3 features: * Engravings in a 9 x 12 format * Revised editing of pieces, including bowings and fingerings * 16 additional pages * Additional exercises, some from Shinichi Suzuki, plus additional insight and suggestions for teachers * Glossary of terms in English, French, German, and Spanish * Musical notation guide * Fingerboard position * CD features new recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes. Titles: Study Points * Tonalization * Vibrato Exercises * Gavotte (Martini) * Minuet (Bach) * Gavotte in G Minor (Bach) * Humoresque (Dvorák) * Gavotte (Becker) * Gavotte in D Major (Bach) * Bourrée (Bach). This title is available in MakeMusic Cloud.
About Suzuki Method
The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.
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