B-Flat Trumpet,Piano - Level 3 - Digital Download

SKU: A0.549566

Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 16 pages. Jmsgu3 #3508107. Published by jmsgu3 (A0.549566).

Duration: ca. 3:20, Score: 10 pages, solo part: 2 pages, piano part: 3 pages. A delicate masterpiece, not very difficult - suitable for a recital encore.

Grieg Background

In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and BedÅ™ich Smetana in Bohemia.

Legacy

Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.

Peer Gynt Suite No. 1 (Op. 46)

Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.

Holberg Suite and Misc. Summary

It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.

Register for free lifetime revisions and updates at www.jamesguthrie.com

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital

Composed by Mat Sibley. Jazz, Method, Etudes and Exercises, General Instructional, Technique Training. Individual Part, Lead Sheet, Sheet Music Single, Solo Part. 18 pages. Published by Mat Sibley

Large Ensemble - Level 3 - Digital Download

SKU: A0.569833

Composed by Austin Ralphson. Instructional. Score and parts. 52 pages. Austin Ralphson #4628387. Published by Austin Ralphson (A0.569833).

Melody: Ornaments - Perform, Compose, Understand Series. This pack comprises a piece called Take It In Turns, worksheets and questions which relate to the piece. It is all about understanding ornamentation.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Large Ensemble - Level 3 - Digital Download

SKU: A0.569831

Composed by Austin Ralphson. Instructional. Score and parts. 57 pages. Austin Ralphson #4626517. Published by Austin Ralphson (A0.569831).

Melody: Passing Notes - Perform, Compose, Understand Series. This pack comprises a piece called Missing Links, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

 

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Large Ensemble - Level 3 - Digital Download

SKU: A0.569828

Composed by Austin Ralphson. Instructional. Score and parts. 50 pages. Austin Ralphson #4596427. Published by Austin Ralphson (A0.569828).

Melody: Sequences - Perform, Compose, Understand Series. This pack comprises a piece called Thanks, Ludwig, worksheets and questions which relate to the piece. It is all about understanding melodic sequences.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

 

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Large Ensemble - Level 3 - Digital Download

SKU: A0.569830

Composed by Austin Ralphson. Instructional. Score and parts. 87 pages. Austin Ralphson #4603377. Published by Austin Ralphson (A0.569830).

Melody: Question & Answer - Perform, Compose, Understand Series. This pack comprises a piece called In Conversation, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

 

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Large Ensemble - Level 3 - Digital Download

SKU: A0.569829

Composed by Austin Ralphson. Instructional. Score and parts. 52 pages. Austin Ralphson #4600767. Published by Austin Ralphson (A0.569829).

Melody: Conjunct and Disjunct - Perform, Compose, Understand Series. This pack comprises a piece called Mind The Gap, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

 

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding          

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Piano Solo - Digital Download

SKU: A0.901081

Composed by Paul Copeland. 20th Century,Contemporary. Score. 50 pages. Paul Copeland #5988217. Published by Paul Copeland (A0.901081).

Audacious Binary Forms for pianist playing one or two pianos, won Australia’s most prestigious piano composition competition the Jean Bogan Prize for Piano Composition 2016.

The world premiere was performed by Michael Kieran Harvey. He is considered by many as being one of Australia’s greatest living concert pianists. Michael specializes in performing world premieres of compositions by Australian composers. He is also a prolific composer of avant-garde music.

ABSTRACT FROM THE GENERAL DIRECTIONS

Audacious Binary Forms for piano is in a fractured binary form. Two types of structures exist; lettered structures, which are experimental structures, and explore the sonorities of the piano, and numbered structures, which are more traditional structures. A structure may be a single page or more than one page. Each page in a structure is to be played sequentially. For example, with structure C, consisting of three pages, C1, C2, C3, each page is played sequentially in numerical order, C1, C2, C3.

EXPERIMENTAL STRUCTURES

The structures A, B, C, D, E, F, G, Percussion, CADENZA, and CODA are experimental.

TRADITIONAL STRUCTURES

The structures 1, 2, 3, 4, 5, and 6, are traditional.

PREPARING THE SCORE FOR PERFORMANCE

There are four different options for a performance.

MINIMALIST OPTION

The 13 cards cut from the CUTOUT page are shuffled. Card 4 Rag (1,2) is removed.  The 12 cards are placed face down. One card is revealed representing the structure that is to be performed. A member of the audience can be invited to shuffle the cards.

STOCHASTIC OPTION

An audience member or members can be invited to shuffle all the pages of the score. The resultant random sequence of pages becomes the whole score for the performance.

PERFORMER’S OPTION

The performer prepares the structures according to his musical tastes. All of the experimental structures should be performed. The performer is free to play none, some, or all of the traditional structures. Please note that each structure remains an independent structure and is played sequentially. For example, structure C, consisting of three pages would be played C1, C2, C3 in that order.

PERFORMER/COMPOSER OPTION

Months before the concert the performer can contact me at paulcopeland1@bigpond.com, to discuss the performance, and to work out an ideal performance structure for the work, taking into consideration the venue, expected size of audience, size of auditorium, music program, and if two pianos will be available.

IMPORTANT INFORMATION REGARDING SHEET MUSIC SIZE

Please note that the score should be printed on separate pages (the notated pages), not back to back. Ideally the score should be printed on A3 pages in colour. However the score can still be printed in grayscale. 

The sheet music file is approximately 15Mb because the score is in full color. 

BIOGRAPHICAL INFORMATION

Paul Copeland is an award-winning multi-genre composer, graphic artist, programmer, teacher, and author, based in his home city of Melbourne. His compositional styles range from neo-classical, jazz, ragtime, and musical theatre to electronic, avant-garde, post-avant-garde, and experimental music.

Born in 1947, Copeland grew up an only child in a musical household. His mother was a talented singer, his father an accomplished amateur pianist, composer of popular music, and internationally renowned travelling telepathist known as Argus The Boy Prophet. Copeland's musical studies commenced at the age of 16 when he began studying piano, and a year later, he enrolled at the Melba Conserv.

Piano,Trombone - Level 5 - Digital Download

SKU: A0.810983

Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983).

This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer.

The concerto is in the standard three movement form: Fast, slow, fast.

This publication is a reduction from the original orchestral version (to be released at some point in the future).

Here is a description of the Concerto by the composer, John W. Ware.

I started on the trombone concerto in my junior year studying composition at Indiana University.  While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad).  The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital.  I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting.  I thought at the time that he had given me and my music a fine compliment.  I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now.

The first movement is in fairly normal sonata-allegro form, in the key of A minor.  It alternates between assertive and more thoughtful moods.   There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end.  Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes.  Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic.  The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina.

The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes.  The main theme is heard in the piano part before the soloist enters.  The mood is more lyric than in the first movement, but with dramatic episodes also.  In this movement are some definite derivations from themes in the first movement.  The ending is a sort of lengthened shadow of the opening.

The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes.  Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward.  The introduction is a brief and simple preparation for the solo entry.  Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo.  Toward the end, there is a second cadenza, again leading to a swift and energetic coda.

The work is about 20 minutes in length and is appropriate for advanced performers.

Baritone Saxophone,Piano - Level 3 - Digital Download

SKU: A0.549534

Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Contemporary,Romantic Period,Sacred,Standards. Score and part. 11 pages. Jmsgu3 #3505851. Published by jmsgu3 (A0.549534).

Duration: ca. 3:40, Score: 5 pages, solo part: 2 pages, piano part: 3 pages. Super-famous instantly recognizable tune, not very difficult - suitable for a recital, funeral or church meditation.

Grieg Background

In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and BedÅ™ich Smetana in Bohemia.

Legacy

Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.

Peer Gynt Suite No. 1 (Op. 46)

Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.

Holberg Suite and Misc. Summary

It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.

   Register for free lifetime revisions and updates at www.jamesguthrie.com.

Euphonium,Piano - Level 3 - Digital Download

SKU: A0.549568

Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 16 pages. Jmsgu3 #3508187. Published by jmsgu3 (A0.549568).

Duration: ca. 3:20, Score: 10 pages, solo part: 2 pages, piano part: 3 pages. A delicate masterpiece, not very difficult - suitable for a recital encore.

Grieg Background

In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and BedÅ™ich Smetana in Bohemia.

Legacy

Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.

Peer Gynt Suite No. 1 (Op. 46)

Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.

Holberg Suite and Misc. Summary

It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.

Register for free lifetime revisions and updates at www.jamesguthrie.com

Alto Saxophone,Piano - Level 3 - Digital Download

SKU: A0.549578

Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 18 pages. Jmsgu3 #3509393. Published by jmsgu3 (A0.549578).

Duration: ca. 2:17 Score: 10 pages, solo part: 2 pages, piano part: 5 pages. A proven audience pleaser - perfect for a recital encore!

Grieg Background

In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and BedÅ™ich Smetana in Bohemia.

Legacy

Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.

Peer Gynt Suite No. 1 (Op. 46)

Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.

Holberg Suite and Misc. Summary

It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.

Register for free lifetime revisions and updates at www.jamesguthrie.com

 

Bass Flute,Instrumental Solo,Piano - Level 3 - Digital Download

SKU: A0.549560

Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and individual part. 16 pages. Jmsgu3 #3507999. Published by jmsgu3 (A0.549560).

Duration: ca. 3:20, Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Delicate, not very difficult - suitable for a recital encore.

Grieg Background

In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and BedÅ™ich Smetana in Bohemia.

Legacy

Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.

Peer Gynt Suite No. 1 (Op. 46)

Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.

Holberg Suite and Misc. Summary

It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.

Register for free lifetime revisions and updates at www.jamesguthrie.com

Piano,Violin - Level 3 - Digital Download

SKU: A0.549549

Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. 16 pages. Jmsgu3 #3507483. Published by jmsgu3 (A0.549549).

Duration: ca. 3:20, Score: 10 pages, solo part: 2 pages, piano part: 3 pages. A delicate masterpiece, not very difficult - suitable for a recital encore.

Grieg Background

In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions.  Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and BedÅ™ich Smetana in Bohemia.

Legacy

Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.

Peer Gynt Suite No. 1 (Op. 46)

Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.

Holberg Suite and Misc. Summary

It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.

Register for free lifetime revisions and updates at www.jamesguthrie.com