French Horn,Piano - Level 3 - Digital Download SKU: A0.1317758 Composed by James M. Guthrie. 21st Century,Contemporary,Romantic Period. Score and part. 6 pages. Jmsgu3 #906440. Published by jmsgu3 (A0.1317758). The musical form of Chaconne is a type of composition that involves variations on a repeated short harmonic progression, often involving a reasonably short repeating bassline or harmonic progression. It is a continuous variation, usually in triple meter, and is generally characterized by a short, repeating bass line or harmonic progression. The Chaconne is a dance form within the Baroque period often found as a component of Baroque dance suites. It is a slow, stately Baroque dance often used to convey intense emotions, ranging from joy and celebration to melancholy and contemplation. The Chaconne form, similar to that of the passacaglia, was used by composers in the Baroque period and later. Johann Sebastian Bach’s “Chaconne� from the Partita in D Minor for unaccompanied violin is an example of the masterly use of the Chaconne as a variation form. François Couperin’s harpsichord music includes many chaconnes en rondeau, such as “La Favorite�. Later composers revived the form, including Johannes Brahms, in the last movement of his Fourth Symphony.

Small Ensemble,Strings Harpsichord,Oboe - Level 4 - Digital Download SKU: A0.836700 Composed by Brian Joyce. 20th Century,Contemporary. Score and parts. 78 pages. Brian Joyce #2881183. Published by Brian Joyce (A0.836700). An 18-minute concerto in three movements for oboe, harpsichord and string quartet.From the program notes . . . .I can imagine readers glancing over a recital program and seeing that it includes a work for oboe, harpsichord and string quartet. They steel themselves against the onset of what promises to be a dull and dreary piece played by unsmiling people in black suits. My imaginary audience may be pleased to find that this Petit Concert is nothing of the sort. It is actually a rather relaxed piece, combining something of the 18th century Rococo (which was never very serious to begin with) and Steely Dan-influenced Hindemith. But just as a chef will hide the most unlikely ingredients in his sauces and confections, I hope I have concealed these disparate influences in a piece which speaks with its own voice. Here, then, is a short concerto with little if any overt virtuosity; it is offered simple for the enjoyment of players and audience alike. In this it perhaps comes round full circle to composers like François Couperin who preferred to please their listeners rather than stun them.Relaxed the piece may be. To be sure, ranges and techniques are far from extreme and there are plenty of triadic sonorities and almost normal functional harmony here. But there are also moments of jazz-inflected chromaticism and frequent meter changes to contend with. It will take players who can hold their own in a mildly dissonant sound world to pull this off. Careful attention to dynamics, tight ensemble and flawless intonation are a must, but diligent players will be rewarded with an immediate audience-pleaser.A separate harpsichord part is included for players who prefer not to read from the score. Equal temperament and a=440 are assumed for the harpsichord. A two manual instrument is preferred but not absolutely necessary.