(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Music, Planning Tips and more for the perfect wedding. For Keyboard Reductions a...(+)
Music, Planning Tips and
more for the perfect
wedding. For Keyboard
Reductions and
Piano/Vocal/Guitar.
Preludes, Processionals,
Recessionals and more.
Wedding. Songbook and 2
Listening/Accompaniment
CDs. 128 pages. Published
by Shawnee Press.
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
String quartet
SKU:
HL.49045639
Chaconne. Composed
by Fred Lerdahl. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2016.
108 pages. Duration 990
seconds. Schott Music #ED
30174. Published by
Schott Music
(HL.49045639).
ISBN
9781540004796. UPC:
888680710774.
9.5x12.0x0.37
inches.
Chaconne
(2016), for string
quartet, was commissioned
by the Daedalus Quartet
to celebrate its 15th
anniversary. The
commission was supported
by New Music USA, made
possible by annual
program support and/or
endowment gifts from
Pennsylvania Council on
the Arts, Helen F.
Whitaker Fund, and Aaron
Copland Fund for Music.My
music has a substantial
history with Daedalus. I
composed the Third String
Quartet (2008) for them,
and subsequently they
performed my three string
quartets on several
occasions and recorded
them brilliantly on
Bridge Records (Bridge
9352: Music of Fred
Lerdahl, vol. 3).
Chaconne is in one
movement lasting 19
minutes. It is
effectively my fourth
string quartet. Quartets
1-3 form a unified cycle
lasting 70 minutes. When
I finished the cycle, I
thought I would never
write again for the
medium; yet I could not
resist the opportunity of
working again with
Daedalus. The issue was
how to compose another
string quartet unrelated
to the earlier cycle. The
solution came from my
solo cello piece There
and Back Again (2010),
which was based on a
four-bar variation
pattern from a
17th-century chaconne.
Unlike the asymmetrical
phrases and expanding
variations of much of my
music, the chaconne form
requires symmetrical
phrases and strictly
periodic variations. I
wished to work again with
these symmetries but on a
larger scale. Chaconne
also differs in character
and expression from the
three-quartet cycle. The
cycle is inward and
intense, a kind of
psychological excavation.
Chaconne is, for the most
part, transparent and
playful. Many of its
textures emerge from
little canons, not
completely unlike the
rounds that children
sing. Any composer who
writes in chaconne form
(one thinks above all of
the last movement of
Bach's D minor violin
partita and the finale of
Brahms's Fourth Symphony)
is confronted with the
challenge of how to
create a larger form out
of a constantly repeating
pattern.My Chaconne grows
from paired
antecedent-consequent
phrases, each variation
lasting eight bars. The
50 variations group into
three large rotations,
forming three arcs of
tension and relaxation,
with subtle parallel
connections across the
rotations.
Notwithstanding my
attraction to chaconne
form, I purposefully
disguised its symmetries
and periodicities in
order to build an overall
dramatic shape. Fred
Lerdahl.
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Flute (or Oboe or V...(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe or Violin) and Flute
(or Oboe or Violin).
Duets. Music for Two.
Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Arranged by Daniel Kelley. For Violin/Flute/Oboe and Piano. Solos. Recital, Wedd...(+)
Arranged by Daniel
Kelley. For
Violin/Flute/Oboe and
Piano. Solos. Recital,
Wedding. Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Viol...(+)
Edited by Briana
Ackerman. Arranged by
Daniel Kelley. For Flute
(or Oboe or Violin) and
Viola. Duets. Music for
Two. Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.14440265S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440265S
Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation.
Duration 25 minutes.
Merion Music #144-40265S.
Published by Merion Music
(PR.14440265S).
UPC:
680160027910.
The
Second and Third Quartets
were conceived at the
same time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed. Accordingly,
they share similar
material but, like the
intertwining blood of
cousins, their natures
differ: No. 2 being
somewhat acerbic and
declamatory, No. 3 more
lyric and gentler. An
annunicatory 'leaping
motive' (derived from a
motto generated by my
name) opens Quartet No. 2
and inhabits the course
of the piece as a
cyclical binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
'grammar' spoken tends to
recall the jazz world of
my youth. To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms. The
first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The second
movement is a set of
strophic variants and an
epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
'call-and-response.' It
is dedicated to the
memory of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto. All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For example,
the climax of movement
III's Rondo throws the
first movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda. The Second and
Third Quartets were
conceived at the same
time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed.Â
Accordingly, they share
similar material but,
like the intertwining
blood of cousins, their
natures differ: No. 2
being somewhat acerbic
and declamatory, No. 3
more lyric and gentler.An
annunicatory
‘leaping
motive’ (derived
from a motto generated by
my name) opens Quartet
No. 2 and inhabits the
course of the piece as a
cyclical
binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
‘grammar’
spoken tends to recall
the jazz world of my
youth.To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms.Â
The first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The
second movement is a set
of strophic variants and
an epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
‘call-and-response.
’ It is
dedicated to the memory
of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto.All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For
example, the climax of
movement III’s
Rondo throws the first
movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda.
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Cello (or Bassoon)....(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe or Violin) and Cello
(or Bassoon). Duets.
Music for Two. Wedding,
Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.