| Contemplation - Débutant Carl Fischer
Orchestra Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Pian...(+)
Orchestra Violin I,
Violin II, Violin III
(Viola T.C.), Viola,
Cello, Bass, Piano -
Grade 0.5 SKU:
CF.PAS22 Composed by
Larry Clark. Primer
String Orchestra. Set of
Score and Parts. With
Standard notation.
8+2+5+5+5+3+8+8 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #PAS22. Published
by Carl Fischer Music
(CF.PAS22). ISBN
9781491151204. UPC:
680160908707. 9 x 12
inches. Key: D
major. Written for
beginning string
students, Larry Clark's
Contemplation?contains
basic compositional
techniques that students
will be able to identify
and learn from. It begins
with a rich, melodic
opening which highlights
students' musicianship.
This is then contrasted
by the frolicking,
uptempo section, which is
a variation on the
original musical
material.
Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner. To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
Larry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner. To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
--Larry
Clark Lakeland, FL
2018 . Conte
mplation: the action to
look thoughtfully at
something for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner. To
me this is the essence of
music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as possible
they should be asked to
put themselves into the
music and make it more
than the notes and
rhythms on the page. This
piece is my attempt to
provide very young
students who are just
beginning their musical
journey with something
they can reach
technically, but have to
stretch for musically.
The notes and rhythms are
limited, but students
should strive for beauty
of tone, good phrasing
and emotional
involvement. After a
short introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of my
pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students. It has
been my pleasure to have
the opportunity to write
this piece. I hope you
and your students enjoy
it and find it useful for
your program. --Larry
Clark Lakeland, FL
2018. Contemplation:
the action to look
thoughtfully at something
for a long time.When
composing music that will
be used with younger
students, I want to
stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner.Â
To me this is the essence
of music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes
and rhythms are limited,
but students should
strive for beauty of
tone, good phrasing and
emotional
involvement.After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.It has been
my pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018. $48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Contemplation [Conducteur] - Débutant Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 0.5
SKU: CF.PAS22F
Composed by Larry Clark.
Primer String Orchestra
(PAS). Full score. With
Standard notation. 8
pages. Carl Fischer Music
#PAS22F. Published by
Carl Fischer Music
(CF.PAS22F). ISBN
9781491151570. UPC:
680160909070. 9 x 12
inches. Written for
beginning string
students, Larry Clark's
Contemplation?contains
basic compositional
techniques that students
will be able to identify
and learn from. It begins
with a rich, melodic
opening which highlights
students' musicianship.
This is then contrasted
by the frolicking,
uptempo section, which is
a variation on the
original musical
material.
Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner. To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
Larry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark Lakeland, FL
2018 . Contemplation:
the action to look
thoughtfully at something
for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner. To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page. This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
--Larry
Clark Lakeland, FL
2018 . Conte
mplation: the action to
look thoughtfully at
something for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner. To
me this is the essence of
music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as possible
they should be asked to
put themselves into the
music and make it more
than the notes and
rhythms on the page. This
piece is my attempt to
provide very young
students who are just
beginning their musical
journey with something
they can reach
technically, but have to
stretch for musically.
The notes and rhythms are
limited, but students
should strive for beauty
of tone, good phrasing
and emotional
involvement. After a
short introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of my
pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students. It has
been my pleasure to have
the opportunity to write
this piece. I hope you
and your students enjoy
it and find it useful for
your program. --Larry
Clark Lakeland, FL
2018. Contemplation:
the action to look
thoughtfully at something
for a long time.When
composing music that will
be used with younger
students, I want to
stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner.Â
To me this is the essence
of music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes
and rhythms are limited,
but students should
strive for beauty of
tone, good phrasing and
emotional
involvement.After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.It has been
my pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018. $6.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Contemplation Orchestre d'harmonie - Débutant Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS122 Composed by Larry Clark. Begin...(+)
Band concert band - Grade
1 SKU: CF.BPS122
Composed by Larry Clark.
Beginning Band (BPS). Set
of Score and Parts. With
Standard notation.
8+2+8+2+5+2+2+8+3+6+3+1+1
+2+4+12+2 pages. Duration
5 minutes, 1 seconds.
Carl Fischer Music
#BPS122. Published by
Carl Fischer Music
(CF.BPS122). ISBN
9781491152089. UPC:
680160909582. As
the title implies, this
piece is written in a
contemplative manner for
beginning students.Â
It is a good piece to
demonstrate basic
compositional techniques
that the students will be
able identify easily in
the piece. It begins with
a lush opening section
with an elegant melody to
work on musicianship.
This is contrasted by the
up tempo section of the
piece based on the same
basic musical material,
but in a varied style and
frolicking feel. A very
satisfying piece for
beginning wind
players. Contemplation
: the action to look
thoughtfully at something
for a long time.When
composing music that will
be used with younger
students, I want to
stimulate thoughtfulness
in them. In this
particular piece I want
the students to be able
to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner. To me, this is
the essence of musical
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play. As soon
as possible, they should
be asked to put
themselves into the music
and make it more than the
notes and rhythms on the
page.This piece is my
attempt to provide very
young students, who are
just beginning their
musical journey, with
something they can reach
technically, but have to
stretch for
musically. The amount
of notes and rhythms
is limited, but students
should strive for beauty
of tone, good phrasing
and emotional
involvement.After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme, featuring the
lower voices, before the
piece leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
differences in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all
of my pieces for younger
students, it is
completely acceptable to
me for you to adjust the
tempo to fit the
educational needs of your
students.It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018. $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Prophesies [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114419030
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030). ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches. A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 |