SKU: CF.YAS13F
ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.
IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
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.YAS9
ISBN 9780825844867. UPC: 798408044862. 8.5 X 11 inches. Key: A minor.
Firewalk is a piece for young string orchestra designed to teach pizzicato playing to the developing string player. All too often, pizzicato is treated simply as an effect or percussive accent to a passage. With this piece, pizzicato becomes the melody, harmony and rhythm. It calls for the player to use dynamics and phrasing while playing pizzicato. This work is adapted from incidental music I composed for a production of The Birth of Merlin, a play by William Shakespeare. The piece is dedicated to Helen Borgers, who directed this production by the Bard in the Yard Shakespeare Company in Long Beach, CA. The material for Firewalk comes from a section in the play where the characters are dancing a devilish tango with ethereal spirits. The music features jaunty rhythms, dynamic contrasts, and a dramatic climax. Firewalk is a diverse addition to any concert program.Firewalk is a piece for young string orchestra designed to teach pizzicato playing to the developing string player. All too often, pizzicato is treated simply as an effect or percussive accent to a passage. With this piece, pizzicato becomes the melody, harmony and rhythm. It calls for the player to use dynamics and phrasing while playing pizzicato. This work is adapted from incidental music I composed for a production ofA The Birth of Merlin, a play by William Shakespeare. The piece is dedicated to Helen Borgers, who directed this production by the Bard in the Yard Shakespeare Company in Long Beach, CA. The material forA Firewalk comes from a section in the play where the characters are dancing a devilish tango with ethereal spirits. The music features jaunty rhythms, dynamic contrasts, and a dramatic climax.A Firewalk is a diverse addition to any concert program.Firewalk is a piece for young string orchestra designed to teach pizzicato playing to the developing string player. All too often, pizzicato is treated simply as an effect or percussive accent to a passage. With this piece, pizzicato becomes the melody, harmony and rhythm. It calls for the player to use dynamics and phrasing while playing pizzicato. This work is adapted from incidental music I composed for a production of The Birth of Merlin, a play by William Shakespeare. The piece is dedicated to Helen Borgers, who directed this production by the Bard in the Yard Shakespeare Company in Long Beach, CA. The material for Firewalk comes from a section in the play where the characters are dancing a devilish tango with ethereal spirits. The music features jaunty rhythms, dynamic contrasts, and a dramatic climax. Firewalk is a diverse addition to any concert program.Firewalk is a piece for young string orchestra designed to teach pizzicato playing to the developing string player. All too often, pizzicato is treated simply as an effect or percussive accent to a passage. With this piece, pizzicato becomes the melody, harmony and rhythm. It calls for the player to use dynamics and phrasing while playing pizzicato.This work is adapted from incidental music I composed for a production of The Birth of Merlin, a play by William Shakespeare. The piece is dedicated to Helen Borgers, who directed this production by the Bard in the Yard Shakespeare Company in Long Beach, CA. The material for Firewalk comes from a section in the play where the characters are dancing a devilish tango with ethereal spirits. The music features jaunty rhythms, dynamic contrasts, and a dramatic climax. Firewalk is a diverse addition to any concert program.
SKU: CF.YAS15
ISBN 9780825851995. UPC: 798408051990. 8.5 X 11 inches. Key: D minor.
Lower strings be sure to maintain a steady pulse and dont rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 121. If the soloist is comfortable using third position, play mm. 119 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and donat rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1a21. If the soloist is comfortable using third position, play mm. 1a19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and don't rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1-21. If the soloist is comfortable using third position, play mm. 1-19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and don’t rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1–21. If the soloist is comfortable using third position, play mm. 1–19 and the first half of m. 20 one octave higher.All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance.String editing by Amy Rosen.
SKU: CF.YAS1
ISBN 9780825840630. UPC: 798408040635. 8.5 X 11 inches. Key: G major.
Moonlight Shadows is a passionate and colorful piece for strings that explores the expressive power of the string orchestra. Sean O'Loughlin uses a lush harmonic palette and variety of texture (including a short pizzicato section), to create an important and soulful addition to the repertoire for younger string ensembles. Duration: 2'30.Moonlight Shadows is a work for string orchestra that reflects my great love for the music of Samuel Barber. His compositions from the 1930s and 1940s were characterized by plush harmonies, flowing melodies and engaging suspensions. These elements are what I focused on in the composition of Moonlight Shadows.The material represents my mood and feelings when I look at a big, bright moon. The shadows it casts create an eerie feeling, while at the same time providing a deep, rich tapestry for the earth at night.The harmony features many major seventh-chords with half-step suspensions. These suspensions function as common tones to the next chord and create the tension of the piece. They also move, in order to provide resolution to the piece which allows the listener to rest. With this in mind, these suspensions should be brought out during performance.Moonlight Shadows is an emotional piece that allows the young musician the opportunity to play with much expression.
SKU: CF.YAS45
ISBN 9780825863462. UPC: 798408063467. 8.5 X 11 inches. Key: A major.
Two Daughters is a flowing and impassioned composition dedicated to the composer's daughters that gives the young string orchestra ample chances to display its lyrical abilities. Several solo passages vary the texture, which displays Alan Lee Silva's usual flair for lush contemporary harmonic writing.From the poignant, heartwarming violin melody at m. 5, to the soaring ensemble climax at m. 61, Two Daughters is a flowing, lyrical composition with a wide dynamic range. Written in AABA form with a bridge, the delicate introduction sets up a legato violin solo at m. 5. The piece builds to the singing B-section (m. 21) and returns again to the gentle A-melody (m. 29). The cello is featured in m. 37 under a soft, high string sustain. Two modulations (mm. 37 and 52) move seamlessly and build excitement to the bridge, highlighted by alternating melodic phrases. The slower ending section (m.69) is played with intensity, featuring more sixteenth-note passages. The final two measures return to the sweet, gentle feeling of the introduction.
SKU: CF.YAS25F
ISBN 9780825854989. UPC: 798408054984. 8.5 X 11 inches. Key: G major.
SKU: CF.YAS42F
ISBN 9780825861321. UPC: 798408061326. 8.5 X 11 inches. Key: A minor.
Sean O'Loughlin has delivered a stunning new composition with such pathos and lyrical energy that it will be the musical highlight of your year. There are limitless opportunities to teach musicianship with this one. This piece is a must have!
SKU: CF.YAS33
ISBN 9780825858468. UPC: 798408058463. 8.5 X 11 inches. Key: G major.
A walk through the park or a morning stroll through the forest is what this piece best calls to mind. With its pastoral setting and lush melodies, Velvet Morning will truly showcase your group's mastery of legato playing.Velvet Morning is a warm and colorful work for string orchestra. Please play con sordino if available. The music is a reflection of my love for the orchestral music of Barber, Ravel, Debussy and Satie. It should have the same sense of passion and intensity that those masters employ in their music.The opening tempo is marked rubato, and should speed up then slow down based on the phrases. The main melody appears at m. 11 in the first violins and should have a flowing quality. The harmony does utilize some slight dissonances from time to time which should be emphasized. The violas and cellos take over the melody at m.19 with a counter line in the violins. The melody returns to the violin at m. 27 with a pianistic cello line punctuated by pizzicato in the bass. Some transitional material follows that builds up to a full presentation at m. 47. Let the ensemble open up here with an intense, full sound. This winds down to a return of the introduction at m. 60. The ending should be tender and deliberate all the way to the last plush chord.
SKU: CF.YAS50
ISBN 9780825863561. UPC: 798408063566. 8.5 X 11 inches. Key: C major.
Another fine rock-styled selection by the gifted Matt Turner that offers young players the chance to perform improvised solos with the ensemble. The basic framework of the piece is a lively and inventive use of simple rock progressions and standard rock rhythms.
SKU: CF.YAS33F
ISBN 9780825858475. UPC: 798408058470. 8.5 X 11 inches. Key: G major.
SKU: CF.YAS29
ISBN 9780825858383. UPC: 798408058388. 8.5 X 11 inches. Key: G major.
This fun tune based on the folk song The Little Beggar Man is skillfully arranged by James Uhl and has all the components needed to challenge developing string players. Very playable and with light counterpoint, Mr. Natural encourages rhythmic accuracy wh.
SKU: CF.YAS29F
ISBN 9780825858390. UPC: 798408058395. 8.5 X 11 inches. Key: G major.
SKU: CF.YAS59
ISBN 9780825866937. UPC: 798408066932. 8.5 X 11 inches. Key: D major.
Virginia Croft has taken a popular German canon and transformed it into a stunning new piece for young string groups. It begins with the canon as is, and then adds two other composed themes that complement the original tune. With its largely contrapuntal composition, this piece is an excellent opportunity for students to develop their independence.“All things shall perish from under the skyMusic alone shall live, music alone shall live,Music alone shall live, never to die.â€Here is an exciting treatment of a well-known simple canonic melody, first stated in its entirety by the cellos. As it passes through the voices, it should predominate over the accompanying embellishments, resulting in an energetic and exciting presentation of an old tune.What a wonderful way to teach the harmonic aspects of canonic melody while offering a lively and enjoyable experience for both performers and audience.
SKU: CF.YAS43F
ISBN 9780825863431. UPC: 798408063436. 8.5 X 11 inches. Key: D major.
Joe Compello’s expertise as a writer for young players has never been better demonstrated than it is in this charming waltz. Beautiful melodic writing and memorable, singing counter-melodies fill this tribute to the famous river that flows past our nation’s capital, Washington, DC.
SKU: CF.YAS62F
ISBN 9780825867002. UPC: 798408067007. 8.5 X 11 inches.
SKU: CF.YAS59F
ISBN 9780825866944. UPC: 798408066949. 8.5 X 11 inches.
SKU: CF.YAS17F
ISBN 9780825852046. UPC: 798408052041. 8.5 X 11 inches.
SKU: CF.YAS52F
ISBN 9780825863615. UPC: 798408063610. 8.5 X 11 inches. Key: G major.
This is a striking and original piece that builds interest and momentum using a four note cello and bass ostinato. Arco and pizzicato contrasts of texture and off-beat accents and rhythms sustain interest in this unusual selection, which puts minimal musical resources to maximum use.
SKU: CF.YAS5
ISBN 9780825843808. UPC: 798408043803. 8.5 X 11 inches. Key: G major.
Born in Bologna, Italy, Adriano Banchieri studied composition and organ and was a member of the Olivetan Order where he lived and worked in its Monasteries. As a founder of the Academia Dei Floridi, his writings on Theory, Figured Bass and Vocal Ornamentation are considered important in early Baroque Music. As an Associate of Monteverdi, Banchieri composed masses, psalm settings, motets, theater works and madrigals.Born in Bologna, Italy, Adriano Banchieri studied composition andorgan and was a member of the Olivetan Order where he lived andworked in its Monasteries. As a founder of the Academia Dei Floridi, his writings on Theory, Figured Bass and Vocal Ornamentation are considered important in early Baroque Music. As an Associate of Monteverdi, Banchieri composed masses, psalm settings, motets, theater works and madrigals.
SKU: CF.YAS56F
ISBN 9780825866883. UPC: 798408066888. 8.5 X 11 inches. Key: C major.
SKU: CF.YAS19F
ISBN 9780825854866. UPC: 798408054861. 8.5 X 11 inches. Key: D major.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel.A spirited introduction features an opening melody in the violins and active repeated-note pedal patterns in the violas and low strings. An AABA form begins at m. 5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the 13 section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out.In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
SKU: CF.YAS57F
ISBN 9780825866906. UPC: 798408066901. 8.5 X 11 inches. Key: G major.
This is a sweeping new original composition in a subto Scottish style from popular composer Alan Lee Silva. Just another one of the pieces that always seem to flow effortlessly from his talented pen. This is an excellent piece for any contest or festival.
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