Cello Review Chart

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CELLO REVIEW CHART Book 1: Review all the pieces up to your current piece each day. Book 2: Day 1: Twinkle (all) Day 2: French Folk Song Lightly Row Song of the Wind Go Tell Aunt Rhody O Come Little Children May Song Allegro Perpetual Motion Long, Long Ago-DM Andantino Rigadoon Etude Minuet in C Maytime Happy Farmer Long, Long Ago-GM Minuet #2 (Book 1) Minuet #1 Minuet #3 Judas Maccabaeus Hunters' Chorus Musette March in G Witches' Dance Gigue Two Grenadiers Gavotte Bourree Book 3: Day 1: Twinkle Day 2: French Folk Song Song of the Wind Go Tell Aunt Rhody May Song Allegro Long, Long Ago-DM Andantino Etude Minuet in C Long, Long Ago-GM Happy Farmer Minuet #3 Chorus from Judas Maccabaeus Musette March in G Gigue Two Grenadiers Bourree March in D Berceuse Scherzo Minuet - Boccherini Minuet #3 (Trio) Gavotte - Bach Allegro Moderato Waltz Day 3: Lightly Row 0 Come Little Children Perpetual Motion Rigadoon Maytime Minuet #1 Hunters’ Chorus Theme from Witches' Dance Gavotte - Gossec Gavotte - Lully Minuet in G Humoresque Book 4: Day 1: Twinkle Go Tell Aunt Rhody Day 2: French Folk Song 0 Come, Little Children Song of the Wind Perpetual Motion Long, Long Ago-DM Etude Minuet in C Long Long Ago-GM The Happy Farmer Chorus from Judas Maccabacus Hunters' Chorus Theme from "Witches' Dance" Gigue Bourree March in D Berceuse Minuet in G Scherzo Waltz Humoresque Sonata in C Major -- Breval Concerto #5, 1st Mvt. - Seitz Allegro Day 3: Lightly Row Day 4: Song of the Wind May Song Allegro Andantino Rigadoon Maytime Minuet #3 (Trio) Miinuet #1 March in G Musette Gavotte - Gossec Two Grenadiers Minuet - Boccherini Gavotte - Lully Minuet #3 Gavotte - Bach Bach Suite - Allegro Moderato Minuet #1 and #2 Sonata in C Major - Breval Rondo Grazios .

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Johann Sebastian Bach Orchestral Suite No. 3 in D Major, BWV No. 3 in D Major, BWV 1068
PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 3 in D Major, BWV 1068 Although the dating of Bach’s four orchestral suites is uncertain, the third was probably written in 1731. The score calls for two oboes, three trumpets, timpani, and harpsichord, with strings and basso continuo. Performance time is approximately twenty -one minutes. The Chicago Sympho ny Orchestra’s first subscription concert performances of Bach’s Third Orchestral Suite were given at the Auditorium Theatre on October 23 and 24, 1891, with Theodore Thomas conducting. Our most recent subscription concert performances were given on May 15 , 16, 17, and 20, 2003, with Jaime Laredo conducting. The Orchestra first performed the Air and Gavotte from this suite at the Ravinia Festival on June 29, 1941, with Frederick Stock conducting; the complete suite was first performed at Ravinia on August 5 , 1948, with Pierre Monteux conducting, and most recently on August 28, 2000, with Vladimir Feltsman conducting. When the young Mendelssohn played the first movement of Bach’s Third Orchestral Suite on the piano for Goethe, the poet said he could see “a p rocession of elegantly dressed people proceeding down a great staircase.” Bach’s music was nearly forgotten in 1830, and Goethe, never having heard this suite before, can be forgiven for wanting to attach a visual image to such stately and sweeping music. Today it’s hard to imagine a time when Bach’s name meant little to music lovers and when these four orchestral suites weren’t considered landmarks.
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Baroque Dance
BAROQUE DANCE To understand and interpret musical style of the Baroque era (1600 to 1750) we need to explore a wider field of the Baroque times – the social and political events, the art and architecture, and most importantly Baroque Dance. During the reign of Louis XIV (1638 – 1715) in France the arts flourished. Not only was the King a great patron of the arts, he was also a skilled performer as instrumentalist, singer and above all an outstanding ballet dancer. Dancing was popular not only at Louis XIV’s court but in many aristocratic ballrooms; the influence of Louis XIV’s court was widespread and French dancing masters (with their manuals) travelled throughout Europe. Dancing was considered to be healthful exercise for women, and was a necessary skill for men along with fencing and riding. The Dance Suite, rhythmic patterns from dances pervaded all Baroque music, and instrumental pieces inspired by court dances were frequently grouped into Suites. BAROQUE DANCES Dances from the Baroque period had a great influence on keyboard music. Dance forms included allemande, bourree, chaconne, courante, gavotte, gigue, hornpipe, minuet, musette, polonaise, rigaudon, sarabande, tambourin. Some of the dances were based on folk dances. Minuet the “queen of dances”, the most popular dance of aristocratic society – often performed by one couple at a time, after bowing to the King or whomever was presiding while others observed. The dance had small steps and a complex two bar foot pattern. Allemande of German origin, duple meter, intricate footwork. Courante (courir, to run) used mostly hop-step combinations Gavotte regular part of formal court balls; a joyful dance in duple meter, had “springing” steps Sarabande originally from Latin America and Spain, became very popular in Europe; is in triple meter with frequent accents and longer notes on second beat, a stately, dignified dance.
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String Duo Song List
Hire SFCM Musicians String Duo Wedding Guide Processionals Sheep May Safely Graze BACH Canon in D PACHELBEL Jesu, Joy of Man’s Desiring BACH Wedding March (Lohengrin) WAGNER Air (Water Music) HANDEL Air on G String HANDEL Prelude (Te Deum) CHARPENTIER Wachet Auf BACH Trumpet Voluntary CLARKE Winter (Four Seasons) VIVALDI Mid-Ceremony Music Meditations, Candle Lightings, Presentations, etc. Ave Maria BACH/GOUNOD Ave Maria SCHUBERT Arioso BACH Meditation (Thaïs) MASSENET Recessionals Trumpet Tune PURCELL Entrance of the Queen of Sheba (Solomon) HANDEL Rondeau MOURET La Réjouissance (Royal Fireworks Music) H ANDEL Hornpipe (Water Music in F) HANDEL Bourrée (Water Music in F) H ANDEL Wedding March (Midsummer Night’s Dream) MENDELSSOHN Ode to Joy BEETHOVEN All music can be used for wedding ceremonies. Other Classical & Romantic Baroque & Classical Andante (Quartet in A minor, Op.29) SCHUBERT J.S. Bach: Bridal Chorus (Lohengrin) WAGNER Air (French Suite 4) Meditation (Thaïs) MASSENET Air (Suite 3 in D Major) Menuet & Romanza (Eine Kleine Nachtmusik) MOZART Andante (Brandenberg #2) Sicilienne BRAHMS Two Bourrées (English Suite 1) St. Anthony Chorale BRAHMS Bourrée (French Suite 6) Traumerei (Kinderscenen, Op. 15) SCHUMANN Gavotte (French Suite 4) Gigue (French Suite 4) Gigue (Suite 3 in D Major) Waltzes March in D Major (Anna Magdalena) Artists Life J. STRAUSS My Heart Ever Faithful Grand Valse Brilliant CHOPIN Polonaise (French Suite 6) Merry Widow Waltz FRANZ LEHAR Rondeau (Suite 2 in B minor) The Skaters Waltz WALDTEUFEL Vienna Life J. STRAUSS Valse Lente (Coppelia) DELIBES Telemann: Waltz (Album for the Young) TCHAIKOVSKY Allegro (Fantasia 2 & 4) You and You (Die Fledermaus) J.
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Dance Rhythms in Mozart's Arias Author(S): Wye J
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Harpsichord Syllabus / 2008 Edition
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Bach to Black
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Flute Solo List
If you do not see your solo: Solo level request form New Jersey Youth Symphony Solo Audition Requirements 2019-2020 Flute Solo List LEVEL ONE 11500 Bach Dussek,J . Gavotte 11501 Bach,J.S March 11502 Bach,J.S. Menuet from Notebook for Anna Magdalena 11503 Bach,J.S. Menuet (No.22) 11504 Bach,J.S. Menuet (No.7) 11505 Bach,J.S. Gavotte (No.34, p.20) 11506 Bach,J.S. Musette 11507 Bach,J.S./Dishinger,R. Menuet No.2 from 12 Duets 11508 Bach,J.S./Dishinger,R. Bourree from 12 Duets Anna Magdalena Bach Notebook 11509 Balent,A. First Recital Album (Any l) 11510 Becthoven,L. Bagatelle, No.9 11511 Beethoven,L. Sonatina 11512 Beethoven,L./Guenthcr,R. Two Dances Flute Solos-Level 2 11513 Bemofsky,L. Spring Song 11514 Billingsley,W./Hahn,R. Morning Mist. 11515 Billingsley,W./Hahn,R. Summer Song 11516 Bozza,E. Quatre Pieces Faciles (Any 3) 11517 Brahms,J ./Beethoven,L. Symphonic Themes 11518 Brouquieres,J. Dans Jes Nuages 11519 Brouquieres,J./Martin,R. En Revant 11520 Buchtel,F. Tango 11521 Burgstahler,E. Flutella 11522 Burgstahler,E. The Spinning Wheel 11523 Clark,L.(ed.) Festival Classics for Flute 11524 Couperin,F. Les Graces-Naturelles (Suite No. I I) 11525 Couperin,F. Menuet (Suite No.3) 11526 Couperin,F. Passepied (No.I) 11527 Demersseman,J. Neopolitan Melody 11528 Diot,J./Meunier,G. Miniature 11529 Diot,J./Meunier,G. La Valse a Mis le Temps 11530 Druschetzky,G./Dishinger,R. Allegro from Trio No.4 11531 Edelson,E. Chant 11532 Edelson,E. Chant 11533 GaiTett,D.
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Guest Artist: Susan Toman, Harpsichord Susan Toman
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-3-2009 Guest Artist: Susan Toman, harpsichord Susan Toman Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Toman, Susan, "Guest Artist: Susan Toman, harpsichord" (2009). All Concert & Recital Programs. 4591. https://digitalcommons.ithaca.edu/music_programs/4591 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. VISITING ARTISTS SERIES 2008-9 Susan Toman, harpsichord Robert A. Iger Lecture Hall Friday, April 3, 2009 8:15 p.m. f1 ,."..,···. PROGRAM Six suittes de clavessin, 1700 Charles Dieupart Cinquieme suite (c.1667-1740 Ouverture . Allemande Courante Sarabande Gavotte Gigue Suite No. 2 in D Georg Bohm Chaconne (1661-1733) Sonata ind, BWV 964 Johann~ Sebastian Bach Adagio (1685-17 50) Allegro Andante Allegro Puga in C Johann Pachelbel (1653-1706) Musicalische Vorstellung Johann Kuhnau einiger biblischer Historien, 1700 (1660-1722) Sonata quarta: The mortally ill then restored Hezekiah Il lament di Hiskia La di lui confidenza in Iddio L'allegrezza del Re convalescente Praludium, Johann Sebastian Bach Fuge und Allegro Es-Dur filr Laute oder Cembalo, BWV 998 To receive occasional emails from the School of Music about upcoming concerts, send an email with your name and address to: [email protected] Canadian harpsichordist Susan Toman holds this year's fourth prize from the Brugge International Harpsichord Competition. She has been featured at.the Bloomington Early Music Festival, the London Early Music Festival, and is the harpsichordist with Montreal-based ensembles Tarantella and Dionysos, the latter of which won • second prize at the 2007 Montreal.Baroque Competition.
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How a Schenkerian Analysis May Inform the Interpretation And
HOW A SCHENKERIAN ANALYSIS MAY INFORM THE INTERPRETATION AND PERFORMANCE OF J. S. BACH’S LUTE MUSIC ON THE GUITAR USING SELECTIVE MOVEMENTS OF BACH LUTE SUITE NO. 4 IN E MAJOR (BWV1006A) AS A DEMONSTRATION Zhi Li, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2020 APPROVED: Thomas Johnson, Major Professor Timothy Jackson, Co-major Professor Diego Cubero, Committee Member John Holt, Chair of the Division of Instrumental Studies Jaymee Haefner, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Li, Zhi. How a Schenkerian Analysis May Inform the Interpretation and Performance of J. S. Bach’s Lute Music on the Guitar Using Selective Movements of Bach Lute Suite No. 4 in E Major (BWV1006A) as a Demonstration. Doctor of Musical Arts (Performance), December 2020, 103 pp., 59 musical examples, 1 appendix, bibliography, 51 titles. Continuing the discussion of interpreting J. S. Bach’s lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach’s music. In particular, the Schenkerian approach provides an important methodology for studying Bach’s music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach’s music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.
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J.S. Bach's Lute Suite BWV 1006A: a Study in Transcription
The Graduate Research Journal 104 J.S. Bach’s Lute Suite BWV 1006a: A Study in Transcription Scott Workman J.S. Bach often transcribed his own musical works, using them in multiple settings, and nowhere is this more apparent than in the Lute suites. This paper explores Bach’s method of transcription in these suites, focusing on Suite no. 4. BWV 1006a provides one of the best opportunities to study Bach’s method of re-using his own material. It is also a prime example of Bach’s tendency to compose works using a general sketch, independent of instrumental considerations, and adapt them later to various idioms. It will be seen that Bach’s transcriptions successfully transform the source material into a piece that is idiomatically appropriate. This information informs modern performance practice and enhances understanding of the transcription process. Key Terms: Music; Classical, Baroque; Bach, Transcriptions; Lute Suites; Johann Sebastian Bach In J.S. Bach’s huge repertory, a sizeable explored, using specific analytical examples number of transcriptions exist. Bach comparing the different versions. Due to its frequently re-worked his own material and multiple versions, this piece provides one of cast it in different settings, and nowhere is the best opportunities to study Bach’s this better illustrated than in the Lute Suites, method of transcribing his own material. It particularly BWV 1006a. 23 Bach’s earlier is also a prime example of Bach’s tendency version of this piece, Partita III for Solo to compose works using a general sketch, Violin, BWV 1006, served as his source independent of instrumental considerations, material for the lute version.
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California State University, Northridge Recital And
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE RECITAL AND CONCERTO WORKS BY BACH, BEETHOVEN, RACHMANINOFF, DEBUSSY, ZHAO, and SHOSTAKOVICH A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By Aiting Zheng May 2016 The graduate project of Aiting Zheng is approved: _____________________________________________ ____________________ Pro. Edward A Francis Date _____________________________________________ ____________________ Dr. Alexandra Monchick Date _____________________________________________ ____________________ Dr. Dmitry Rachmanov. Chair Date California State University, Northridge ii Table of Contents Signature Page…………...…………………………………….…………………..…......……ii Abstract…………...…………………………………………….……………….....……...…..iv French Suite No.5 in G Major, BWV 816, by Johann Sebastian Bach….……………..…..….1 Piano sonata No.27 in E minor, Op.90, by Ludwig van Beethoven…………..…..….........…..5 Etudes-Tableaux Op.39 No.4 in B minor and Op.33 No.4 in D minor, by Sergei Rachmaninoff………………………….…..…...………....8 Suite Bergamasque, by Claude Debussy………………….…………...……..….………........ 11 Pi Huang, by Zhao Zhang………………………………………………………....….….....…15 Concerto for piano, trumpet and string in C minor, Op.35 No.1, by Dmitri Shostakovich.…..17 Bibliography …………...……………………………………………………….…….…..…...20 Appendix A: Program I (Solo Recital).………………………….…………………….........…22 Appendix B: Program II (Concerto Recital)……………………...………………….…..…….24 iii ABSTRACT RECITAL AND CONCERTO By Aiting Zheng Master of Music in Music, Performance In the following paper, I will analyze works that I performed within a solo recital and a concerto recital. The recital consisted of works by Johann Sebastian Bach, Ludwig van Beethoven, Sergei Rachmaninoff, Claude Debussy, and Zhao Zhang, and the goal of the following analysis will be to research and explain the related performance practices of these composers. To a musician, interpretation is always of the utmost importance in the learning of a new work.
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Choreographic Structure in the Dances of Claude Balon
CHOREOGRAPHIC STRUCTURE IN THE DANCES OF CLAUDE BALON Ken Pierce, Longy School of Music Introduction In his “recueil” of dances for the year 1712, the dancing master Dezais published two ballroom dances by Claude Balon, renowned dancer of the Paris Opera and future dancing master to Louis XV.1 In his introduction, Dezais cited “the enthusiasm that the public had always expressed for the works of M. Balon.”2 These two dances, la Silvie and la Dombe, were the first of eighteen dances by Balon that Dezais would publish in the ten years that followed. In addition to these published dances, there are five dances by Balon that have survived in manuscript. Two, the Entrée and the Menuet, are male solos; the other three are couple dances. All of the extant dances by Balon are listed in Table 1.3 As a choreographer, Balon is notable for his astute use of repeated step sequences that correspond to musical repeats. There are several possibilities for repeating a given step sequence.4 The sequence can be repeated exactly, on the same foot and with the same floor pattern, or it can be repeated on the opposite foot, with the floor pattern mirrored. A sequence involving two dancers can be repeated with the same floor pattern but with the partners having exchanged places. The sequence of steps can also be repeated with the floor pattern altered: a familiar example of this sort of repetition is the opening of Pécour’s Bourrée d’Achille. This afternoon I will discuss some of the ways in which Balon uses repeated step sequences in relation to musical repeats.
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