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Selected Orchestral Excerpts for Cello: Analyzed and Graded

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Selected Orchestral Excerpts for Cello: Analyzed and Graded INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find e good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of die dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106.USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 8HR I I 77-24,588 SHAY, Linda Jean, 1949- SELECTED ORCHESTRAL EXCERPTS FOR CELLO: ANALYZED AND GRADED. The Ohio State University, D.M.A., 1977 Music Xerox University MicrofilmsAnn r Arbor, Michigan 48106 (c) Copyright by Linda Jean Shay 1977 SELECTED ORCHESTRAL EXCERPTS FOR CELLO: ANALYZED AND GRADED DOCUMENT Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Linda Jean Shay, B.A., B.Mus., M.Mus. ***** The Ohio State University 1977 Reading Committee: William Conable Robert Culver Norman Phelps School of Music Performance Division For Allan and My Parents ACKNOWLEDGEMENT My special thanks go to my adviser Professor William Conable. His ideas and direction helped force order from chaos. To his support and encouragement, and his genuine humaneness throughout, I owe the completion of this project. My further thanks go to the members of my reading committee, Professors Robert Culver and Norman Phelps, whose suggestions were most helpful. Finally, I wish to thank my friend and colleague Mrs. Judit Ebner for her encouragement and support. VITA April 21, 1949...................... Born - West Lafayette, Indiana 1971.................................B.A. and B.Mus., University of Oregon, Eugene, Oregon 1971-1976........................... Graduate Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio 1973.................................M.Mus., The Ohio State University, Columbus, Ohio FIELD OF STUDY Major Field: Cello Performance CONTENTS Page DEDICATION...................................................... ii ACKNOWLEDGEMENTS................................................ iii VITA................................................. iv LIST OF TABLES.................................. vi LIST OF FIGURES................................................. vii LIST OF ABBREVIATIONS........................................... viii SECTIONS I. INTRODUCTION................ 1 II. EXPLANATIONS..................................... 4 A. Explanation of Grading B. Explanation of Problems III. MASTER LIST OF INDIVIDUAL EXCERPTS..................... 15 IV. TABLES OF BOOK CONTENTS BY GRADE AND PROBLEM............ 27 APPENDIX......................................................... 37 BIBLIOGRAPHY.................................................... 42 V LIST OF TABLES BOOKS BY PROBLEM AND GRADE Table Page 1. Rose: OAckeAtAaZ ExceAptSj Vol. I,..,......................... 29 2. Rose; OAC.hzA&iaZ ExCLQAptA} Vol. II............................. 30 3. Rose: OAchQAtAaZ ExceAptA, Vol. Ill......... 32 4. William Stokkingi20th CzntuAy OAchQAtAaZ Studies.............. 33 5. Cedric Sharpe: A E ook ^OAt h z CzXX*< A t ,............ 34 6. S&ICUU6 OAzhoAtAjoUt ExzzA ptA ....... '................ 35 7. VeAdt OAzheAtAcut S tudtzA .......................... 36 8. W agnzA OAzhzAtAat ExczAptA .............................. 37 vi LIST OF FIGURES Figure Page 1. From the 'BaAtzn.e.d. Znxdo, Ov&vtuH.e. by Smetana (Rose: Vol. II, p.53).......................................... 41 vii LIST OF ABBREVIATIONS GRADES E - Easy E-M - Easy-Medium M - Medium M-H - Medium-Hard H - Hard PROBLEMS APW - Awkward Passage Work PM - Perpetual Motion SC - String Crossings STAC - Staccato HM - High Melody SDL - Smooth Disjunct Line UK - Uncommon Key R - Rhythm DR - Dotted Rhythm ST - Special Techniques D - Dynamics S - Solos BOOKS r I - Rose: On.cheJ>t/ial ExcenptA, Vol. I R II - Rose: OAchoAt/vaZ ExcZAptA, Vol. II R III - Rose: On.chcAtA.aX. ExcCAptA, Vol. Ill CS - Cedric Sharpe: A B 00k (JcVtthe CcXXAAt 20th - William Stokking: 20th CcntnAy OAcheAtAaX StucUcA w - W agneA OnchcAtAaX ExcojiptA s - StAauAA OnchcAtnaZ ExccAptA v - Ven.dc OnchcAtcA-StadX.cn I. INTRODUCTION This document has been written to supplement traditional teaching materials and as a reference work for cellists. The cello orchestral literature is often ignored by cello teachers, who use etudes, sonatas, and concertos for musical development and technical application. The orchestral literature is a rich source of music encompassing most technical problems and levels of difficulty. Also, cellists have far more opportunities to perform the orchestral literature in professional or community orchestras than to perform the sonata, concerto, or etude literature as soloists. Wind players frequently practice orchestral excerpts along with etudes, sonatas, and concertos to prepare for future orchestral auditions and concerts. For the violinist, there is, in addition to several compilations of orchestral excerpts, a graded survey titled UA4.ng O/lcheJst/UlZ. ExC2/ip&> QJ> S&xdyU q^ & iajxZ. by James E. Smith. Cellists too should have a graded guide to the orchestral excerpts. To help make the orchestral literature more accessible to cellists, the excerpts in eight currently available orchestral excerpt books have been reviewed. Each excerpt has been graded according to technical difficulty, and principal problems have been identified. The eight books are: 1 2 Leonard Rose; ed. QJicheAt/iat ExceAptA, 3 vols, William Stokking: ed. 20th CentuAtf OticheAtAoZ Stu.cU.ZA. Cedric Sharpe; ed. A Book fcoh. the. CetZxAt, Stutch, N., ; ed. StAduAA QJlcheAtAaJL ExceAptA Grosch, Karl: ed. VeAdi Oh.cheAtAcUL Stu.du.2A. Kiesling, M. ; ed. W agneA OAcheAtAdZ ExceAptA% This document is divided into three sections; 1} explanation of the grading system and discussion of the technical problems. The technical problems are discussed in order of prominence and the explanation includes a selected list of reading references and etudes*' dealing with the problems. 2) A master list of the 265 excerpts in the eight excerpt books. The list is alphabetical by composer and includes composer, title, grade, problems, and location. 3) Tables showing the contents of each book by problem and grade. The Appendix is a collection of practice suggestions for learning the notes and for continuity. It is hoped that this document will be useful as a reference for professional cellists, teachers, and advanced students. Professional cellists can use it as a reference work for locating and preparing specific excerpts for concerts and auditions. Teachers 1. Throughout the document references are given to authors and composers. In the case of authors, a short title of the book or thesis, the chapter heading, and page are given. In the case of composers, the opus number and specific etude numbers are given. In most cases only one book or set of books by a given composer is referred to and is fully listed in the bibliography. In the case of Franchomme, both the Op. 7 Ca.pJu.ceA and the Op.35 StudteA are listed. When referred to, they are listed by opus number and title. 3 can use it for compiling a sequence of excerpts to meet the needs of individual students. Advanced students can use it to learn the literature and to prepare for future auditions. The document can serve as a guide to individual excerpts and excerpt books, as well as to reading material and etudes dealing with technical problems. II. EXPLANATIONS 4 A. EXPLANATION OF GRADING The grading is correlated with that of the American String Teachers Association (ASTA) St/U.ng S yZZabuA. f which grades etudes, short pieces, sonatas, and concertos on a scale from 1—10. In the present document the ten grades are combined into five categories labeled Easy (E), Easy-Medium (E-M), Medium (M), Medium-Hard (M-H), and Hard (H). E E-M M M-H H ASTA Gr 1-4 ASTA Gr 5 ASTA Gr 6-7 ASTA Gr
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