DOCSLIB.ORG

Piano Repertoire List

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Piano Repertoire List IOWA HIGH SCHOOL MUSIC ASSOCIATION SUGGESTED PIANO REPERTOIRE LIST LEVEL 1 TITLE COMPOSER PUBLISHER BAROQUE Anna Magdalena Book Bach KAL Twenty Little Dances Handel SCH CLASSICAL Select appropriate period material from the following: Very First Classics BH Little Dance Book SCH The Sonatina Book, Vol. 1 CD Piano Literature, Vol. 2 (Clark) SU German Dances Haydn UN Notebook for Wolfgang Mozart, L. SCH Waltzer, K. 600, #1; 602, #2 Mozart BE ROMANTIC Select appropriate period material from the following: Russian Music for the Young Pianist, Vol. 1 Zietlin-Goldberger MC Selected Graded Classics BE The Solo Book, Vol. 2 Zietlin-Goldberger CD Album Leaves Op. 101 Gurlitt GS Album for the Young Op. 140 Gurlitt AL CONTEMPORARY First Piano Pageants GA Contemporary Piano Literature, Vols. 1 & 2 (Clark) SU Twentieth Century Piano Music, Vol. 1 (Frost) BE Mikrokosmos, Vols. 1 & 2 Bartok BH Eight Easy Piano Pieces Burkard BA Pastel Desert Colors Burnam WI Three Miniatures for Piano Cacavas WI Suite for the Young Dello Joio MAR Solos for Students, Set 1 George SM Students Choice, Set 2 George SU Cats (Ten Pieces) Last OX Kaleidoscope, Vol. 1 Nelhybel GE Sketches Rowley SU The Littlest Inventions Russell WI Patterns Scher SU Happy Time, Vol. 1 Tansmans MC Twelve Mosaics Wilder PR LEVEL II BAROQUE Anna Magdalena Book Bach WI Anson Introduces Bach Bach WI Bach for Early Grades Bach BM The Bach Family Bach PR First Bach Book Bach KAL Twenty Little Dances Handel SCH Young Pianistís Handel (Aldridge) OX Master Series for the Young Handel GS Aylesford Pieces SCH Collection of Piano Works Krieger BA Twelve Minuets Muthel BA CLASSICAL Beethoven for the Young Musician Beethoven MAR Easiest Original Pieces Beethoven HI Six German Dances Beethoven KAL Fifteen Waltzes Beethoven SCH Sonatina Op. 20 Dussek GS Dances & Pieces for Piano Haydn LI Twelve Easy Pieces Haydn UN Six Minuets for Piano Haydn PR Sonatinas Op. 20 Kuhlau GS The Younger Mozart Mozart SCH Eight Minuets, K 315a Mozart HE, PR Twelve Waltzes Mozart UN Notebook for Wolfgang Mozart SCH Mozartís First Five Compositions Mozart BM Fifteen Waltzes Mozart SCH ROMANTIC Favorite Romantic Pieces RDR The Solo Book, Vol. 3 Zietlin-Goldberger CD Beethoven for the Young Musician Beethoven MAR Easiest Original Pieces Beethoven HI Six German Dances Beethoven KAL Ecossaises and Deutsch Tange Beethoven PE Sonatinas Op. 151 Diabelli GS Eighteen Short Pieces Franch PE Lyric Pieces Op. 12 Grieg GS Norwegian Notebook Op. 7; Op. 66 Grieg PE Forty-Five Selected Compositions, Book 1 Grieg GS Lyrical Pieces Op. 68 Grieg PE Album Leaves for the Young Op. 101 Gurlitt GS By the Fireside Op. 183 Gurlitt BH Twenty-Four Studies Op. 131 Gurlitt GS Twnety-Five Studies Op. 47 Heller GS Scenes from Childhood Kullak GS, PE Four Russian Folk Songs Liadov LE Schubert Dances Schubert PE Easiest Original Pieces Schubert HI Little Viennese Dance Book Schubert PE Dances, Ecossaises Op. 33 Schubert GS Waltzes Schubert UN Eighteen of His Easiest Piano Selections Schumann AL Easiest Original Classics Schumann HI CONTEMPORARY Arcadia, Vol. 3 Badings SC For Children, Vols. 1 & 2 Bartok BH Mikrokosmos, Vols. 3 & 4 Bartok BH Ten Easy Pieces Bartok KAL Album Leaves Bentley SU Rondolettes Bentley SU Four Northern Sketches Bentley CP Efantines Bloch CF Nine Bagatelles Creed HI Five Little Dances Op. 24 Creston GS Alone at the Piano, Vol. 2 Diamond SY Album for the Young, Vol. 2 Diamond EV Little Piano Music, #2 Hindemith SC Twelve Armenian Folk Songs Hovhaness PE Twenty-Four Pieces for Children Op. 39 Kabalevsky KAL A Child Loves Milhaud MC Touches Blanches Milhaud CF Touches Noires Milhaud CF Fables Muczynski GS Four Minatures for Piano McKay SC Japanese Festival Nakada MC Little Piano Book Persichetti EV Six Modal Miniatures Stevens OD Six Sonatinas, Vols. 1 & 2 Stravinsky PE LEVEL III BAROQUE Sixteen Masterworks UN The First Bach Book Bach KAL Notebook for Anna Magdalena Bach Bach KAL Dance Forms from the Suites Bach WS Short Preludes and Fugues Bach PE Little Preludes and Fugues Bach GS Small Preludes Bach HE First Lessons in Bach, Book 2 Bach GS Bach Album for the Piano Bach GS Two-Part Inventions #1, #8 Bach AL Bach for Early Grades, Book 3 Bach BM Sonatas, Vols. 1 & 2 Cimarosa EG Allegro in G Handel BE Easiest Piano Pieces Handel HI Sarabande in F Handel BE Pieces and Sonatas, Vols. 1 & 2 Scarlatti BE Little Pieces Turks NG CLASSICAL Six Keyboard Sonatas from the Classical Era SU Prussian Sonatas Bach, C.P.E. NG The Sons of Bach Bach HI Sonatas and Pieces Bach PE Solfeggieto Bach KAL Sonatas Op. 49, #1, #2 Beethoven GS Bagatelles Op. 33 or 119 Beethoven HE Ecossaises and German Dances Beethoven PE The Beethoven Sketch Books, Vol. 1 Beethoven CP Fourteen Selected Pieces Beethoven SCH Album of Sonatinas Op. 20 Dussek GS Sonatas, Ho. XVI, #4, #5, #11 Haydn UN Six Sonatinas Haydn SCH Six Little Divertimenti Haydn PE Six Minuets for Piano Haydn PE Twelve Easy Pieces Haydn KAL Sonatinas Op. 55; Op. 80 Kuhlau GS Four Unknown Miniatures Mozart OX German Dances Mozart PE Fifteen Waltzes Mozart SCH Master Series for the Young Mozart GS Six Viennese Sonatinas Mozart SCH Twelve Minuettos Vol. 1, 2 K585 Mozart HI ROMANTIC Easy Piano Music of the Romantics SCH Petite Suite Borodin PE Waltzes Op. 39 Brahms PE Preludes Op. 28, #6, #7 Chopin PI An Introduction to his Piano Works Chopin AL Easiest Original Pieces Chopin HI Mazurkas Op. 67, #2, Op. 68, #3 Chopin PI Preludes #4, #6, #7, #20 Chopin PI Nocturnes Field PE Ten Aquarellen Op. 19 Gade PE Idyllen Op. 34 Gade PE Poetic Tone Pictures Op. 3 Grieg PE Four Humoresques Op. 6 Grieg PE Puck Op. 71, #3 Grieg PE Grandmotherís Minuet Op. 68, #2 Grieg GE Fifty Selected Studies Op. 45, 46, 47 Heller GS Five Discoveries Liszt CW Ten Woodland Sketches Op. 51 MacDowell GS, KAL Songs Without Words: Op. 30, #3, #6; Mendelssohn KAL Op. 19, #2, #4; Op. 102, #6 Dances for the Young Schubert SCH Little Vienese Dance Book Schubert PE Easiest Original Pieces Schubert HI Sixteen German Dances Op. 30 Schubert SCH Waltzes, 5 Vols. Schubert BE Knight Rupert Schumann GE Three Sonata for Young People Op. 118 Schumann GS Album for the Young Op. 39 Tchaikovsky GS Album for the Young Op. 68 Tchaikovsky GS CONTEMPORARY Sonatina Amengual PR Petite Suite Auric HG Fourteen Bagatelles Op. 6, #1, #4, #6 Bartok KAL Mikrokosmos Books 3 & 4 Bartok BH For Children Books 1 & 2 Bartok BH Summertime Suite Bauer MC Fantasies Books 1 & 2 Benjamin BH Enfantines Block CF Miniature Pastorals, Set 1 Bridge BH Five for a Nickel Pie Calabro EV Childrenís Pieces Casella UN Ten Preludes #1, #2, #3, #5, #6, #9 Chavez GS Five Little Dances Creston GS Le Petit Negre Debussey LD Three Preludes Delius OX Night Song Dello Joio MAR Prelude of a Young Dancer Dello Joio GS Banff Panorama Demarest MAR Ten Sound Pictures Diermer BH Twenty-Four Inventions Finney PE Six Characters from Shakespeare Gibbs PE Summer Sketch Book Green PRO Enchantment Hanson CF Little Suite Harris GS St. Crispinís Day Hubicki GS Five Easy Sets of Variations Op. 51 Kabalevsky MC Variations Op. 40 Kabalevsky MC Seventeen Easy Pieces for Piano Solo Khachaturian KAL Adventures of Ivan Khachaturian MC Bagatelle Martini AS Eighteen Selected Pieces Mahykapar MC Poemetti Menotte RIC The Household Muse Milhaud EV Fables Mucsynski GS In a Spanish Courtyard Navarro HF En La Costa Del Parana Paz CF Childrenís Festival Pinto GS Music for Children Op. 65 Prokofiev BH Jugend Album #2 Reger SCH The Clown (March) Rota MAR Piano Music of Satie Sets 1, 2 & 3 Satie AS Recreations for Piano Schectman MC Lyric Piece Stevens PR Small Sonata Op. 51 Takas DB The Young at the Piano, Vol. 3 Tansman EG Sonatine Tardos BH Puck Taylor OX Episodes Tcherepnin HG Echoes of a Small Town Toch AS Kinderstuck Webern ZO Rhapsody Wigham WI LEVEL IV BAROQUE Bach for Early Grades, Book 3 Bach BM French Suites Bach HE Short Preludes and Fugues Bach GS Two-Part Inventions Bach PE, WI Three-Part Inventions Bach KAL Inventions and Sinfonias Bach AL Sinfonia #11, g minor Bach AL Well-Tempered Clavier Bach KAL, HE Prelude and Fugue #15 Bach BE The Graded Couperin Couperin BE Piano Book for the Young, Vol. 5 Handel PE Harpsichord Pieces Handel KAL Eleven Selected Pieces Handel AS Anson Introduces Handel, Vol. 2 Handel WI Master Series for the Young Handel GS Purcell Keyboard Suites Purcell GS The Graded Rameau Rameau BE Sonatas (4 Vols.) Soler BE Little Fantasies Telemann SCH CLASSICAL Fantasia in C Bach, C.P.E. KAL Six Wurtenberg Sonates #4, #6 Bach, C.P.E. PE Sonatas Books 1 & 2 Bach, J.C. PE Fugues and Polonaises Bach, W.F. PE The Sons of Bach HI Sonatinas Beethoven HE Bagatelles Op. 126, #1, #2, #3, #5 Beethoven HE Variations Vol. 1 #1 on Original Theme Beethoven GS Vol. 2, Variation on Swiss Air Rondos (2) Op. 51 Beethoven GS Piano Pieces Haydn GS Variations Hob. XVII: 2 in A Hayden PE Variations Hob. XII: 3 in E Hayden PE Six Viennese Sonatinas Mozart AS Your Mozart Book Mozart KAL Sonatas: K. 282 in Eb, K. 283 in G, K. 332 in F, Mozart KAL K. 545 in C Variations: K.V. 179 in C, K.V. 573 in D Mozart KAL ROMANTIC Espana Op. 165 Albeniz GS Asturias from Suite Espanola Albeniz KAL Album of Eight Pieces Albeniz BM 16 Waltzes Op.
Load more

Recommended publications
  • Sonatina for Cello and Piano by Zoltan Kodaly in the Light of Stile Evolution
    Eurasian music science journal 2020 Number 2 2020/2 Article 11 12-31-2020 Sonatina for Cello and Piano by Zoltan Kodaly in the Light of Stile Evolution Galiaskar Bigashev The state conservatory of Uzbekistan, [email protected] Follow this and additional works at: https://uzjournals.edu.uz/ea_music Part of the Music Performance Commons Recommended Citation Bigashev, Galiaskar (2020) "Sonatina for Cello and Piano by Zoltan Kodaly in the Light of Stile Evolution," Eurasian music science journal: 2020 : No. 2 , Article 11. DOI: doi.org/10.52847/EAMSJ/vol_2020_issue_2/A13 Available at: https://uzjournals.edu.uz/ea_music/vol2020/iss2/11 This Article is brought to you for free and open access by 2030 Uzbekistan Research Online. It has been accepted for inclusion in Eurasian music science journal by an authorized editor of 2030 Uzbekistan Research Online. For more information, please contact [email protected]. The works of Zoltan Kodai constantly attract the attention of listeners, performers and musicologists. Over time, we rethink his legacy, and in this process, the most valuable and artistically significant elements of the composer's work again convince us of the significance that Kodai's work has not only for Hungarian, but also for world musical culture. The master of Hungarian music has received widespread recognition as the creator of vocal, stage, choral works, as well as his pedagogical system, which significantly transformed the entire system of musical education in his homeland and was enthusiastically received by other countries. Such masterpieces as the opera "Hari Janos", symphonic "Dances from Galanta" and "Dances from Maroshsek", piano pieces, "Hungarian Psalm" became Kodai's trademark.
    [Show full text]
  • A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ...................................................
    [Show full text]
  • Duo Sonatas and Sonatinas for Two Clarinets, Or Clarinet and Another Woodwind Instrument: an Annotated Catalog
    DUO SONATAS AND SONATINAS FOR TWO CLARINETS, OR CLARINET AND ANOTHER WOODWIND INSTRUMENT: AN ANNOTATED CATALOG D.M.A. 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 Yu-Ju Ti, M.M. ***** The Ohio State University 2009 D.M.A Document Committee: Approved by Professor James Pyne, co-Advisor Professor Alan Green, co-Advisor ___________________________ Professor James Hill Co-advisor Professor Robert Sorton ___________________________ Co-advisor Music Graduate Program Copyright by Yu-Ju Ti 2009 ABSTRACT There are few scholarly writings that exist concerning unaccompanied duet literature for the clarinet. In the late 1900s David Randall and Lowell Weiner explored the unaccompanied clarinet duets in their dissertations “A Comprehensive Performance Project in Clarinet Literature with an Essay on the Clarinet Duet From ca.1715 to ca.1825” and “The Unaccompanied Clarinet Duet Repertoire from 1825 to the Present: An Annotated Catalogue”. However, unaccompanied duets for clarinet and another woodwind instrument are seldom mentioned in the academic literature and are rarely performed. In an attempt to fill the void, this research will provide a partial survey of this category. Because of the sheer volume of the duet literature, the scope of the study will be limited to original compositions entitled Sonata or Sonatina written for a pair of woodwind instruments which include at least one clarinet. Arrangements will be cited but not discussed. All of the works will be annotated, evaluated, graded by difficulty, and comparisons will be made between those with similar style.
    [Show full text]
  • An Analysis and Performer's Guide to the Sonatine for Flute and Piano by Pierre Boulez
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 An Analysis and Performer's Guide to the Sonatine for Flute and Piano by Pierre Boulez. Diana M. Tiffany Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Tiffany, Diana M., "An Analysis and Performer's Guide to the Sonatine for Flute and Piano by Pierre Boulez." (1999). LSU Historical Dissertations and Theses. 6905. https://digitalcommons.lsu.edu/gradschool_disstheses/6905 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfihn master. UMI films the text directly fi'om the original or copy submitted. Thus, some thesis and dissertation copies are in ^ew riter 6 ce, ixdnie others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing from 1 ^ to right in equal sections with small overlaps.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Clementi's “Progressive Sonatinas,” Op. 36: Sonata Semplice Or
    Document generated on 09/29/2021 12:04 a.m. Intersections Canadian Journal of Music Revue canadienne de musique Clementi’s “Progressive Sonatinas,” Op. 36: Sonata semplice or Mediating Genre between Minuet and Sonata Design? Edward Jurkowski Contemplating Caplin Article abstract Volume 31, Number 1, 2010 In this article, I apply William E. Caplin’s theoretical model of formal functions as the modus operandi to study variations to the sonatina genre. In particular, I URI: https://id.erudit.org/iderudit/1009282ar use Clementi’s op. 36 cycle of six “Progressive” sonatinas to illustrate some of DOI: https://doi.org/10.7202/1009282ar the compositional options available along the evolutionary pathway between a single-themed minuet exposition and that of a mature sonata See table of contents exposition. Despite the sonatina’s relatively smaller dimension, the variety of loosening features and use of interthematic fusion reveal that the genre is a more captivating topic of study than may have been generally appreciated. Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (print) 1918-512X (digital) Explore this journal Cite this article Jurkowski, E. (2010). Clementi’s “Progressive Sonatinas,” Op. 36: Sonata semplice or Mediating Genre between Minuet and Sonata Design? Intersections, 31(1), 9–24. https://doi.org/10.7202/1009282ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2012 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit.
    [Show full text]
  • Study Guide for Test #1
    MUS 204: Theory and Musicianship IV Test 1 Study Guide I. Form (14 pts) A) Be prepared to draw a diagram, including typical keys in the Classical era, for the following forms: 5-part rondo 7-part rondo sonata form sonatina sonata-rondo sonata-concerto B) Be prepared to describe the differences between standard sonata form and its three variants (i.e. sonatina, sonata- rondo, sonata-concerto). II. Terms (20 pts) Be prepared to match definitions with the following terms: refrain episode retransition coda exposition development recapitulation transition codetta dominant preparation introduction double exposition cadenza III. Form Analysis (30 pts) Be prepared to identify both large scale and small scale formal features in a given piece of music, along with the key of each section. Two movements will Be selected from the following pieces studied in class and/or assigned as homework. One additional movement not covered in class will also Be included. RONDO: Murray Example XVI.1.1 Beethoven – Sonata No. 8 Op. 13 (Pathétique), mvt. 2 Murray Exercises XVI.1.2 Mozart – String Quartet in B¯, K. 159, mvt. 3 AMA Example 29-1 Couperin – “La princesse de Sens” AMA Example 29-2 Haydn – Piano Sonata in D, Hob. XVI:37, mvt. 3 AMA Example 29-3 Bartók – “Evening in Transylvania” SONATA: Murray Example XVI.2.1 (also AMA Example 29-7) Clementi – Sonatina in C, op. 36, no. 3, mvt. 1 Murray Exercises XVI.2.2 Clementi – Sonatina in D, op. 36, no. 6, mvt. 1 AMA Example 29-4 Beethoven – Sonata in G, op. 49, no.
    [Show full text]
  • The French Sonatina of the Twentieth-Century for Piano Solo with Three Recitals of Works by Mussorgsky, Brahms, Bartok, Dutilleu
    THE FRENCH SONATINA OF THE TWENTIETH-CENTURY FOR PIANO SOLO WITH THREE RECITALS OF WORKS BY MUSSORGSKY, BRAHMS, BARTOK, DUTILLEUX, AND OTHERS Scott A. Carrell, B.M., B.A., M.M. AP- Major Pro syor Minor Professor Cof the Rer bcai eRCo lege of Music Dean of the Robert B. Toulouse School of Graduate Studies S79 /V04.9C4.t THE FRENCH SONATINA OF THE TWENTIETH CENTURY FOR PIANO SOLO WITH THREE RECITALS OF WORKS BY MUSSORGSKY, BRAHMS, BARTOK, DUTILLEUX, AND OTHERS DISSERTATION Presented to the GraduateCouncil of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Scott Allen Carrell, B.M., B.A., M.M. Denton, Texas August, 1999 Carrell, Scott Allen, Theench Sonatina of the Twentith Century fr Piano Solo with Three Recitals of Works by Mussorgsky, Brahms, Bartok Dutileux, and Others Doctor of Musical Arts (Performance), August, 1999, 131 pp., 83 examples, appendices, references, 87 titles. The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI (1926), Nodl Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work.
    [Show full text]
  • Sonata Form the Standard Sonata Form Is One of the Most Important Forms in Western Classical Music
    In Depth: Sonata form The standard sonata form is one of the most important forms in Western classical music. This musical structure flourished in the Classical period and maintained it’s importance throughout the Romantic and Contemporary eras. Sonata form applies to a single movement of a multi-movement work. In a sonata or sonatina, the first movement is most often in sonata form. This structure is similar to ternary form (ABA), yet it is more expanded and complex. A sonata form movement has three large sections that perform specific functions. Exposition :II: Development Recapitulation :II MaJor keys: I I V V modulations I I I Sections: Intro 1st theme 2nd theme closing manipulation 1st theme 2nd theme coda of themes minor keys: i i III (or V) III (or V) modulations i i i Analyzing sonata form: 1. Identify the beginnings of each section. 2. Where are the primary themes? Is there an introduction? 3. Locate the important key areas. Is the first theme firmly rooted in the tonic key area? What key is the second theme in? 4. Is there transitional material between the theme groups? Is there closing material firmly concludes the exposition? 5. Identify and analyze the development. How does the development manipulate material that was first presented in the exposition? 6. Can you identify the retransition – the material that links the development to the recapitulation? 7. When does the opening material return? 8. Does the composition have a coda (codetta)? 1 Romatic sonatina versus Classical sonatina: From Classical to Romantic: The Classical Era is usually described as being from 1750-1820.
    [Show full text]
  • Table of Contents Welcome to the CD Sheet Music™ Edition of Piano Sonatinas and Standard Study Works, the Ultimate Collection
    Sheet TM Version 2.0 CDMusic 1 Piano Sonatinas and Standard Study Works The Ultimate Collection Table of Contents Welcome to the CD Sheet Music™ edition of Piano Sonatinas and Standard Study Works, the Ultimate Collection. This Table of Contents is interactive. Click on a title to open the sheet music. Click on the composers or bookmarks on the left side of the screen to navigate to a section of The Table of Contents. Once the music is open, the bookmarks become navigation aids to find the sections of the work. Return to the Table of Contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM (click on a composer to go to that section of the Table of Contents) SONATINAS BEETHOVEN KUHLAU CLEMENTI LICHNER DIABELLI MOZART DUSSEK REINECKE GURLITT SPINDLER HAYDN © Copyright 2005 by CD Sheet Music, LLC 0 n 2. Sheet o TM rsi Ve CDMusic 2 STANDARD STUDY WORKS ALBENIZ MOZART C. P. E. BACH MOUSSORGSKY J. S. BACH PACHELBEL BARTÓK PROKOFIEV BEETHOVEN PUCCINI BIZET PURCELL BRAHMS RACHMANINOFF CHOPIN RAVEL COUPERIN SATIE DEBUSSY SCARLATTI DVORÁK SCHOENBERG FAURÉ SCHUBERT GRANADOS SCHUMANN GRIEG SCRIABIN HANDEL SIBELIUS HAYDN STRAUSS JOPLIN TCHAIKOVSKY LISZT VERDI MACDOWELL WEBER MENDELSSOHN The complete Table of Contents begins on the next page Sheet TM Version 2.0 CDMusic 3 LUDWIG VAN BEETHOVEN Sonatina in Bb Major, Op.
    [Show full text]
  • OMTA Sonatina Festival 2021 Required Repertoire
    OMTA Sonatina Festival 2021 Required Repertoire The editions listed below are offered as suggestions. Another choice of edition may be used. No repeats unless otherwise noted on list. Levels I-V blocked octaves are optional. Level I Sonatina No. 3 in A Minor, I. Brightly by Lynn Freeman Olson from Beginning Sonatinas, Alfred Level II Major-Minor Sonatina in C Major, III. Rondo – Vivace by Jane Smisor Bastien from Three Sophisticated Sonatinas, Kjos Level III Sonatina in G Major, Op. 57, No. 4, I. Allegro non troppo by Albert Biehl from Succeeding with the Masters & The Festival Collection Sonatinas Book 2, edited by Helen Marlais with Crystal Zimmerman, FJH Level IV Sonatina in G Major, Op. 36, No. 2, I. Allegretto by Muzio Clementi from Clementi Sonatinas Opus 36, edited by Jennifer Linn, G. Schirmer/Hal Leonard Level V Sonata in A Minor, L. 93, K. 149, Allegro (with repeats) by Domenico Scarlatti from Domenico Scarlatti Ninety Sonatas In Three Volumes, Volume 1, edited by Eiji Hashimoto, Urtext Edition, Dover Level VI Sonatina in D Major No. 3 “Joyeuse Nouvelle”, IV. Finale – Allegro giocoso by Hedwige Chretien from Succeeding with the Masters & The Festival Collection Sonatinas Book 5, edited by Helen Marlais with Crystal Zimmerman, FJH Level VII Sonatina in D Major (complete sonatina), I. Bagpipes – Molto moderato, II. Bear Dance – Moderato, and III. Finale – Allegro vivace by Bela Bartok from Bartok Selected Works for Piano, edited by Keith Snell, Kjos Level VIII Sonata in E Minor, Hob. XVI/34, III. Vivace molto by Franz Joseph Haydn from The Festival Collection Book 7, edited by Helen Marlais, FJH Level IX Sonata in D Major, K.
    [Show full text]
  • Multimovement Form.Pdf
    11/25/2008 Number of Movements Most sonata-related compositions of the common practice period have either three movements or four movements In general, concertos have three movements while symphonies and chamber works (such as string quartets) have four movements Multimovement Form Piano sonatas (and other types of sonatas) before Beethoven are generally in three movements—but after Beethoven, they could have three or four Three Movement Plans Four Movement Plans There is no one standard plan for the structure of In four-movement works, a minuet or scherzo is added to movements, but there are some common plans the three movement plan, often between the slow In works with three movements, the ordering is usually movement and the finale as the third movement: fast-slow-fast fast-slow-minuet-fast First movement: usually in sonata form The first movement is usually in sonata form—presenting and developing thematic material Second movement: slow, in binary, ternary, sonatina, sonata, or theme and variations The contrasting slower second movement might be in binary or ternary form, sonatina form, sonata form, or theme and variations Third movement: composite ternary (minuet and trio) The last movement is usually energetic and in a lighter mood, Fourth movement: rondo, sonata-rondo, sonata, etc. using rondo form, sonata-rondo form, or sonata form (it may also Sometimes the middle two movements are reversed: fast- be theme and variations or even a fugue) minuet-slow-fast Key Plans The key plans for multimovement works can generally be summarized as a motion away from and back to the tonic The first and last movements are in the tonic key The middle movements are usually in related keys, such as the dominant, subdominant or relative key, but they may also be in a less-closely related key In four-movement works, the minuet is often in the tonic key (perhaps in the opposite mode)—thus, only the slow movement would be in a contrasting key 1.
    [Show full text]