OMTA Sonatina Festival 2021 Required Repertoire

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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. 576, I. Allegro by Wolfgang Amadeus Mozart from Sonatas and Fantasies for the Piano, edited by Nathan Broder, Theodore Presser Company Level X Sonata in F Major, Op. 10, No. 2, I. Allegro by Ludwig van Beethoven from Beethoven Complete Piano Sonatas Volume 1, edited by Heinrich Schenker, Dover .

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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.
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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.
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An Analysis and Performer's Guide to the Sonatine for Flute and Piano by Pierre Boulez
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Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
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Piano Repertoire List
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Study Guide for Test #1
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Table of Contents Welcome to the CD Sheet Music™ Edition of Piano Sonatinas and Standard Study Works, the Ultimate Collection
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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.
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