Benjamin Crowell is making a few dozen of his arrangements of classical violin, viola, and cello pieces available for free at http://www.lightandmatter.com/music/strings/.
The quality of the engraving is pretty good, and the arrangements are comparable in quality to those from the major music publishers. I'll be retiring my tattered copy of the Accolay Concerto No. 1 in A Minor and replacing it with this version. The arrangements are all public domain or Creative Commons licensed, so you can copy and perform them without worrying about the Copyright Police.
Most of the pieces are appropriate for intermediate-level musicians: Bach and Pergolesi and Saint-Saens are well represented. Church violinists will appreciate his arrangements of the Bach suites and concertos, and especially Gounod's Ave Maria.
Ben is a regular contributor to the rec.music.makers.bowed-strings newsgroup.
Thursday, May 21, 2009
Monday, May 18, 2009
Chunk it
If you don't chunk it, they'll choke on it.
This week I saw an amazing, talented singer and songleader look in thinly-veiled frustration upon a congregation because they weren't enthusiastically joining him in a song. What happened?
The leader had introduced a song which was new to most of the congregation. The song was just a little more complex than the average congregational song. And he sang straight through a verse or two and the chorus before repeating anything. This was just too much for people to remember all at once. To make it worse, just as people were getting the hang of it, he started inserting variations, making it impossible to tell which was the "right" note to be singing.
The leaders of long ago had it right: they would "line" the song, singing just one line at a time, which would be repeated immediately by the people. When music became "literate" and hymn books were introduced, this time-tested technique for teaching a song was lost. Now, with SongShow and Powerpoint, people don't need to learn the words, but they do need to learn the melody and harmonies.
What can a worship leader do? Remember that people need to learn a new song before they can sing it. And remember that most people learn in small chunks—one or two lines at a time, maybe four lines at a time if they're an unusually talented bunch or if the music is incredibly simple. Any new "data" introduced after that will cause them to forget what came before.
What can a church violinist do? Playing the melody before the singing begins (as an introduction to the song, as an interlude during the song, or even as a prelude or special music) will help people become familiar with the music, reducing the effort required to learn the melody and allowing the congregation to focus more on the words.
This week I saw an amazing, talented singer and songleader look in thinly-veiled frustration upon a congregation because they weren't enthusiastically joining him in a song. What happened?
The leader had introduced a song which was new to most of the congregation. The song was just a little more complex than the average congregational song. And he sang straight through a verse or two and the chorus before repeating anything. This was just too much for people to remember all at once. To make it worse, just as people were getting the hang of it, he started inserting variations, making it impossible to tell which was the "right" note to be singing.
The leaders of long ago had it right: they would "line" the song, singing just one line at a time, which would be repeated immediately by the people. When music became "literate" and hymn books were introduced, this time-tested technique for teaching a song was lost. Now, with SongShow and Powerpoint, people don't need to learn the words, but they do need to learn the melody and harmonies.
What can a worship leader do? Remember that people need to learn a new song before they can sing it. And remember that most people learn in small chunks—one or two lines at a time, maybe four lines at a time if they're an unusually talented bunch or if the music is incredibly simple. Any new "data" introduced after that will cause them to forget what came before.
What can a church violinist do? Playing the melody before the singing begins (as an introduction to the song, as an interlude during the song, or even as a prelude or special music) will help people become familiar with the music, reducing the effort required to learn the melody and allowing the congregation to focus more on the words.
Friday, February 13, 2009
Playing a Round (and a Canon and a Fugue)
The terminology describing the forms of imitative, contrapuntal music is slippery. Here are some definitions I developed for a recent presentation for recorder players.
According to Dufay
Canon = the application of a rule to a musical piece
Rondelus = the musical form which results
Fugando = the relationship of the voices
Canon – Usually in two voices, beginning with strict imitation then using other devices (inversion, augmentation, etc.) to continue the counterpoint. Some kind of imitation continues throughout the canon.
Catch – A comic round for male voices (England, 1600-1800). Sometimes, the voices eventually catch up with a conclusion.
Fugue – Counterpoint with each part participating equally. The development starts with a subject, then an answer. The theme (or “dux”) is developed in different keys and fragments are explored (without imitation between the parts), before returning to where it began.
Ricercare – A prelude or an imitative motet, very often in the form of a complex fugue. From Italian for “research” or “try out.”
Round – A canon with perpetual imitation, often in 3 parts.
Deceptive Terms
Canso, Canzona – A song.
Rondeau –A medieval French song with verses and refrain which don’t strictly alternate.
Rondo – A movement or aria with two tempos or keys, often in ABA form.
According to Dufay
Canon = the application of a rule to a musical pieceRondelus = the musical form which results
Fugando = the relationship of the voices
Glossary
Bicinium – A two-part composition. The were often used in German-speaking areas as a teaching tool, so they may be relatively easy to play. They are very often (but not necessarily) canons.Canon – Usually in two voices, beginning with strict imitation then using other devices (inversion, augmentation, etc.) to continue the counterpoint. Some kind of imitation continues throughout the canon.
Catch – A comic round for male voices (England, 1600-1800). Sometimes, the voices eventually catch up with a conclusion.
Fugue – Counterpoint with each part participating equally. The development starts with a subject, then an answer. The theme (or “dux”) is developed in different keys and fragments are explored (without imitation between the parts), before returning to where it began.
Ricercare – A prelude or an imitative motet, very often in the form of a complex fugue. From Italian for “research” or “try out.”
Round – A canon with perpetual imitation, often in 3 parts.
Deceptive Terms
Canso, Canzona – A song.Rondeau –A medieval French song with verses and refrain which don’t strictly alternate.
Rondo – A movement or aria with two tempos or keys, often in ABA form.
Subscribe to:
Posts (Atom)
