Later in the century with the introduction of new technology, the horns could have easily played all of these parts. Nevertheless, he still used the winds in ways that would probably cause an audience to perk up their ears in surprise at their variety. The orchestral suite comprises of four movements and was extracted from the original ballet for a concert performance in 1943, by the New York Philharmonic Orchestra. One other piece of work here is the sustained tones in the oboe and clarinets.
It takes a little bit more pressure to hit the note cold as in this example. To further emphasize the staccato line the composer adds the melody in the glockenspiel. A note of caution: Be aware that the example crescendos very rapidly near the end of the passage. But just a second or so later the clarinet replies. Download or print Aaron Copland Saturday Night Waltz (from Rodeo) sheet music notes, chords in minutes.
This can be heard and seen clearly in the Beethoven above (Example 69.2). Copland: “Saturday Night Waltz” from Rodeo. © Copyright 2020 Hal Leonard - All rights reserved. There's a problem loading this menu right now. Lola and Zeynap look at Saturday Night Waltz from the ballet, Rodeo by Aaron Copland. Aaron Copland wrote the musical score to the ballet Rodeo in 1942 and it was choreographed by Agnes de Mille. The violins cede to the oboe in the following measure who also plays the two measure phrase.
This playful gesture is reflected throughout the piece so, in some ways, it’s the composer exploiting what he has already provided to the listener. Oh it’s there, but the languorous lush lines don’t provide much for those wanting to tap their toes.
Aaron Copland’s ballet, Rodeo, consists of four dance episodes: “Buckaroo Holiday,” “Corral Nocturne,” “Saturday Night Waltz,” and “Hoe-down.” Copland’s music commemorates the Wild West with solo woodwind instruments over a thin layer of strings, fiddle playing, and fanfares.
Fiddlin' Bob Larkan & His Music Makers. As I discussed, Beethoven and his contemporaries had fewer instrument options to work with than his successors. Buy Saturday Night Waltz by Aaron Copland at jwpepper.com. As an example, his third symphony, the “Eroica,” has a first movement that is about as long as an entire Haydn symphony. SKU: MN0164174 As the composer deconstructs the motif it’s played by the flute and oboe, answered by two solo violins, partially joined by the solo flute, before being played again by the flute and oboe. And I know I’m being more than just a bit dogmatic. 1 Piano 4-Hands, and Instrumental Duet in Eb Major. The suite was given the title Four Dance Episodes from Rodeo and included Buckaroo Holiday, Corral Nocturne, Saturday Night Waltz and Hoedown. After their novel entrance, the horns give the three quarter note motif over to the middle register clarinets in harmony, as the bass clarinet and two bassoons have the off beat sustained notes. The orchestral suite comprises of four movements and was extracted from the original ballet for a concert performance in 1943, by the New York Philharmonic Orchestra. The World's Largest Source for Music Publications, Series:
Sold by Amazon.com Services LLC. One is the opening ascending eighth note triplets on the downbeat of the bar. Although its range is very close to where the violins, violas, cellos and basses stopped, now we have an all brass background supplied by the three trombones and tuba. With everything else going on it’s easy to miss it, but when you focus on what these three players do here, you notice how it glues the passage together. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. Read about our approach to external linking. So, if you’ve turned up the volume to listen to the clarinets and other woodwinds, when the full orchestra enters in measure 278 it gets loud! As the flute then hands it off to the E-flat clarinet on the downbeat of measure 81 the composer actually presents a plain old dominant seventh arpeggio in the E-flat clarinet. (US) Here, unlike the earlier passage, the piccolo is doubled down an octave by the oboe. One more thing to point out is how Copland mixes up the accompaniment. Suddenly the contained sound of the previous measures is spread out. Next, the clarinet enters with a similar, but rhythmically more complex two measure phrase.
Publisher: Boosey & Hawkes
The suite was given the title, songs and traditional Irish music, which lends an American West, Aaron Copland: Saturday Night Waltz - AQA, Home Economics: Food and Nutrition (CCEA). Our team of exam survivors will get you started and keep you going. As most students of music learn, Beethoven had a tendency to push boundaries wherever he could. Instead, Bernstein provides the accent on the second half of the measure. View the Product: Saturday Night Waltz (from Rodeo), Series: Boosey & Hawkes Orchestra, Voicing: Score & Parts, Contributors: Aaron Copland This is a range in which the double reed is rich and full and, though it often is overpowered in this range, the flute is too. Chronologically these examples range from the early nineteenth century to the mid-twentieth century. Listen with care to orchestra music? Re: Saturday This is included, with three parts, in an Orkney collection*: ‘Iris Nicolson’s Favourites’ (Book 1 - ‘Mainly the Garson Trio’), where it is listed as ‘The Black Mask Waltz or The Saturday Night Waltz. Enter your email address to follow this blog and receive notifications of new posts by email. Beethoven begins this in the flute, followed by the oboe, the clarinet, then the first violins. Notice the way Bernstein hands off the B-flat on the downbeat of measure 80 from the piccolo to the flute. As soon as the clarinet finishes, the bassoon, joined by the bass clarinet, has the motif a couple of octaves lower. But, when it comes to the big three (woodwinds, brass and strings), nothing provides the broad spectrum and depth than do the woodwinds. To return to the opening of the example, note the triangle roll during the descending quarter notes. It’s another way to color the music. Create a free website or blog at WordPress.com. It’s a brief bit of “tossing the ball around,” colorfully showing the timbre of each of the woodwinds. Heres the very likeable waltz in its original version from Rodeo.
The pattern repeats until it’s taken up at the end of measure 74 by the piccolo. Check if … I included the last few measures to show how the same motif, now played in unison by the flutes, clarinets and all the violins, can be so nicely balanced by the double reeds, brass and lower strings when playing at a forte. There are many passages, for example, of clarinets teaming up with violas in full scores. This is the point, on the second beat of measure 266, where the E-flat clarinet takes over. Example 69.2 is from the first movement. The suite incorporates American folk songs and traditional Irish music, which lends an American West timbre. And before the E-flat clarinet is done with its iteration, the second B-flat clarinet steps up. But one can only imagine how this passage sounded to unknowing ears some two hundred years ago. In a manner frequently seen in scores many composers, a three or four note motif is played by one voice and then echoed by others. Of course, with a technically challenging passage, if you’re not sure that those playing your piece are up to a difficult part and you have the opportunity, it’s always a good idea to check.
Print and download Saturday Night Waltz sheet music composed by Aaron Copland arranged for Piano/4 Hors. Boosey & Hawkes Orchestra.
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Boosey & Hawkes Orchestra Once the whole notes end in bar 74, it’s as though the sun breaks through the clouds with the piccolo stepping in, acting as the sun. It was commissioned by the Ballet Russe de Monte Carlo. Width: 9.0"
Naturally this is a simplistic view, but … The flute has this eighth note passage first. The flute is added to the motif on its repeat just before the flute, oboe and all the strings return to end the phrase. These excerpts will continue for the next several posts. The warmth of the clarinets is apparent. The third iteration has the E-flat clarinet doubling the piccolo at the octave. It’s not too hard to imagine how much less colorful this passage would be if it were played by strings alone. These are the ranges where most instruments sound “like themselves.”, So often, composers focus on the very top or very bottom of an instrument’s range to exploit the lesser known sounds they can often produce there. Composer:
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