Whistler - Ensembles For Strings
August 3, 2022 | Author: Anonymous | Category: N/A
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F U L L S C O RE RE
BO OO OK KSS A V AI A I L AB AB LLEE : S t r iPn giiaa no r t scccc om no P a A om( Fpi ran asntiim m ePnntot s i t i o n F u ll S c o re
rp~eface 8 N SSEE MB M B LLEE S F OR O R S TR TR IN IN GS G S r e p r e s e n t s a n i n d i s p e n s a b l e c o l l e c t i o n o f w oorr t h - w hhii l e c o m po po s i t i o n s , s t y l e d i n e a s y a r r a n g e m eenn t s f o r d u e t , t r i o , q u a r t e t a n d m in in g o r c h e s t r a p e r f o r m aann c e , w itit h o r w itit h o u t p i a n o a c c o m ppaa n i m eenn t . T h e m aatt e r i a l p r e s e n t e d i s a d m iirr a b l y s u i t e d f o r p l a y e r s w itit h o n l y a l i m itit a d t e c h n i c a n d e x p e r i e n c e , w hi hi l e t h e p r o g r a m ma m a t i c n a t u r e o f t h e c o n t e n t s m al al e e s i t h i g h l y d e s i r a b l e f o r u s e i n a l m ooss t a n y t y p e o f p u b l i c p e r f o r m aann c e . H er er e t o f o r e , t h e l a c k o f e a s y m us us i c f o r m iinn g e n s e m bbll e p e r f o r m an an c e h a s b e e n a f a d o r i n l i m itit i n g t h e p os os s i b ilil i t i e s o f c hhaa mb m b er er m uuss i c e xp xp er er i e nc nc o b y s t u de de nt nt s w ho h o h aavv e s t u ddii e d o nnll y a s h oorr t l e ng ng th th o f t i m ee.. W iti t h t h e a d v e n t o f E n s e m bbll e s f o r S t r i n g s , h o w ev ev e r , a d e A ni ni t e s t e p f o r w ar ar d h a s b e e n t a k e n , a s m at at e r i a l s a r e n o w p r o v i d e d t h a t w iill l A IIII a l o n g f e l t n e e d , a n d w hi hi c h w ilil l n o t o n l y e n h a n c e t h e v a l u e o f t h e e l e m eenn ta ta ry ry s t a ggee s o f s t r i n ge ge d i n stst r u m mee nt nt s t u dy dy , b ut ut a llss o w iill l i n cr cr e as as e i t s s c op op e a nd nd v itit a lili z e i t s p ooss s i b ilil i t i e ss.. D uuee t s , t r i o s , a n d q u a r t e t s , a r e e s p e c i a l l y v a l u a b l e a s a m ea ea n s o f . d e v e l o p i n g p l a y e r s ' a b i l i t y t o f o l l o w p o l y p h o n i c d i a l o g u e o f t w o o r m or or e i n m um um eenn t s ; l i k e w iiss e , s u c h p e r f o r m aann c e d e v e l o p l a k e e n n . . . f o r a cccc ur ur a te te i n to to nnaa ttii o nn,, a nd nd a n a pp pp re re c iiaa ttii o n f o r t he h e m os o s t s u bt bt l e s h ad ad es es o f t o nnee c ol ol o rr,, n ei ei t h er er o f w hi h i c h r e ssuu ltlt s e nt nt i r e ly ly f r o m s o lo lo p la la yi yi n g. g. W he h e t h e r u s e d i n t h e t r a d i t i o n a l s t r i n g q u a r t e t a r r a n g e m en en t ( t w o v i o l i n s , v i o l a , a n d c e l l o ) , o r i n c o m bi bi n at at i o n o f t w oo,, t h re re ee,, o r f o ur ur v io io lili n s,s, w iitt h o r w iitt h ou ou t a cc cc om om ppaa ni ni m eenn t,t, E nnss e mb m b le le s f o r S trtr i n ggss i s s c oorr e d i n s u ch ch a m aann nnee r t h aatt i t w iill l a ch ch ie ie ve ve m aaxx im im uum m r e su su ltlt s r e ga ga rd rd le le ssss o f t h e i n sstt r u m mee nntt a titi o n e mp m p lo lo yyee cl cl . W h en en t h e v i o l a i s l a c k i n g f o r s t r i n g q u a r t e t p e r f o r m an an c e , a v i o l i n p l a y i n g t h e t h i r d p a r t m ay ay b e s u b s t i t u t e d f o r t h e t e n o r i n s t r u m en en t w iitt h n o l o s s w hhaa t s o e v e r i n h a r m on on i c b a l a n c e . I f a f u l l s t r i n g e n s e m bl bl e ( o r c h e s t r a ) i s d e s i r e d , p a r t s f o r t w o o r m or or e v i o l i n s , v i o l a , c e l l o , a n d s t r i n g b a s s , w itit h o r w itit h o u t p i a n o a c c o m pa pa n i m eenn t , m aayy b e u t i l i z e d . W he h e n a t r i o o f v i o l i n , c e l l o , a n d p i a n o i s t o p e r f o r m , p a r t s f o r t h e s e i n m uum m en en t s a r e s o w riri e n t h a t t h e y s e r v e t h i s e n s e m bl bl e c o m bi bi n a t i o n i n a h i g h l y s a t i s f a c t o r y m an an n e r . A II II o f t h e m at at e r i a l i n En E n s e m bl bl e s f e r S ttrr i n g s h as a s b e e n c a r e f u l l y e d i t e c l a n d b o w eecc l . T hhee r a n g e o f e a c h s t r i n g p a r t i s s u c h t h a t a l l i n s t r u m en en t s , i n c l u d i n g m iinn g b a s s , m ay ay r e m a i n i n t h e A rs rs t p os os i t i o n t h r o u g h o u t t h e e n t i r e w oorr k ; i n f a c t , f o u r t h F iinn g e r an an d o p e n m in in g c o n n o t a t i o n s i n d i c a t e d i n t h e v i o l i n a n d v i o l a p a r t s s u g g e s t t h i s v e r y p r o c e d u r e . P l a y e r s d e s i r i n g t o m aall e e u s e o f h i g h e r p o s i t i o n s , h o w ev ev e r , m aayy d o s o a t t h e i r o w n d i s c r e t i o n , e n h a n c i n g t o a s t i l l g r e a t e r d e g r . . t h e o v e r a l l m us us i c a l e ff e c t . T h e w rrii t e r s w isis h t o e x p r e s s t h e i r g r a t i t u d e t o t h e f a c u l t y s t r i n g q u a r t e t o f t h e s t a t e t e a c h e r s ' c o l l e g e a t S a n J o s e , C al al i f o r n i a , f o r h a v i n g b e e n k i n d e n o u g h t o t e s t t h r o u g h a c t u a l p e r f o r m aann c e t h e e n t i r e w or or k w hi h i l e i n m aann uuss c riri p t f o rm rm , a nd nd f o r h av av in in g m aadd e t i m eell y s u gg gg es es t i o nnss f o r i t s i m pprr o vvee m eenn t.t.
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1130-
47
FuI
Score
n
1 st V n. 2 n d V nn..
3 rd V n . 4 th V n .
r. 71fi1
Viola
r .
O
-
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§
1 st V n . 2 n d V n. n.
O
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3rd V n . 4t 4thh v n .U V
10,'\ U Cello
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Score
FuI
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1st
Vn.
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1130
- 47
25
Score
Full
1 st V n. 2 n d V n.
I~
-
I
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r
1
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4 th V n .
Violo
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L j
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9
f
1130 - 47
Dance
Tambourin fro m
A
B a lle t
S u ite
RAMEAU
FuI Score
o 1 s t V io lin 2 n d V iioo l i n 3 r d V io io l i n 4 t h V iioo l i n
Viola
1
Cello S trin g B as s
m pu (9 )
'
U'
mp-mf
: -
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O
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1 st V n . 2nd V n.
3,..dVn. 4 th V n .
Violo
1
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1st
I ~
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41
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4
.
3 rd V n . 4 th V n .
1
V'-u
Score
- -
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1st V n. 2ndVn.
3 rd
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17
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1 st V n . 2 n d V nn..
3rd V n. 4 th V n .
A
,.,
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4
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28
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1130-
47
Cello Boss
' 1st V n . 2ndVn.
U A
u¡;-
f-f
~-~ J'.~O
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r ' .v . . .1(20
4, a.
3r-dVn. 4 th V n . m ooll t o
4, (1)
r i t a ,,.. d .
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4, ( 1)
4, (1)
4, (1)
Viola
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u .
mj
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29
1130-47
10
anse fro m
Full Score
Macabre
S y m p h o n ic
P oem
S A IN IN TT- S A EN EN S C oonn b iizz za za rrrr i a Piano
1 st 2nd
V io lin V io lin
3 rd V io lin 4 th V io li n
f Piana
Viola
f Cello S tr i n g B a s s
Piano
f K e e p 1 s t f in 9 er d o w n
t
- ; t ,pVo s .
., .
( If ) 1st V n. 2 n d V nn..
t
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3 rd V n o 4 th V n .
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1
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1130 - 47
Full
1st
r- ,
V
I
I
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Vl
2nd Vn. ItJ
V 3,..d vnf
-
4 th th V n. n.
4
Cello
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r-, r- ,
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V n .~
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4
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3,..dVn. 4thVh.
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(4:¿) O 1st V n. 2ndVn.
V
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r-,
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r- ,
r- ,
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m p l e g g ie r o
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1130-47
Score
Full
1st
r'1'
Vn.
2 dV .
tJ 1
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3 ...d V n .1 4 th
Vn.
'4 ,
M
I
(~6)
V.
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vn' Vn.
2nd
r '1
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4,
4,
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3rdVn. 4 th
Vn.
r' 1 Viola
Cello Bass
U
(59)
K e e p 1 s t f inin g e . .... d o w n . ... . ... . .... ... . ... . .... ... . ... . .... ... . ... . .... .... r '1 1
V
1st Vn. 2ndVn.
.p
22.
o :i. I
2.
2 .'
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o
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pizz.
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Vn.
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4,
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V
r '1
V
pizz.
o
32
47
1130-
Menuetto
fro m
Sym phony
C o n c e rta n te
FuI Score
1st 2nd
MOZART
V io l in V io l in
.. 3 rd 4 th
V io li n V i o lin
.a
8.
.
Viola
. . . . .
Piano
Cello S t r in g Bass
o
st V n. 2nd V n.
3 rd
-
r
'---4-'-.. O. ------. ------.
Vn.
4 th V n .
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11 81 J' -.
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1\
mp 111.
-
----
1130-
Copyright
International
47
Scol e
FuI
. O . 4. O . . O .
.
--
3 rd V n . 4 th V n .
.
O
. O . 4, 4 ,. ~ q
r r r
.
4,
.
.
4
. . . .
.
. 9
1st Vn. 2ndVn.
4
33
Secured
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. .
4'
4 , . . '0.
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o
. . . .
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Viola
4
Cello Bass
A
u
u
A
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Vn.
2nd Vn.
V (;17>~
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4
. . .. 4
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4
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. . . . . Viola 4
Cello
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I
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V
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1 s t V n. n.
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Vn.
4 th
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S e o re
FuI
(53)
(57) 4
~
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---
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Viola
Cello
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w 'U ..
1 s t V n. n. 2n d
I
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3,..dVn,
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Viola
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1130- 47
I
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Cello Bass
Cello Bass
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v
A
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A 35
A n d a n te
12 FuI
fro m
C a n ta b ile
S trin g
Q u a rte t.
O p. 11
Score
TSCHAIKOWSKY
-
1 s t V iioo l í n 2 nd nd V io io l i n 3 r d V io io l i n 4 th V io lin
===-
Viola
........
Cello S trin g B ass
--
mp
===--
===--
1 st V n . 2nd V n.
3 r d V n. n. 4 th V n .
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-, -~ I-~ -1
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Viola .L~.. Cello Bass
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v
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1 st 2n d V n .
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~
r. V 4
U
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40
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R u b an k .
I n e .. C h i e a g o .
111.
1130 - 47
36
In te rl a tio n a l
C o p y rig h t
S ee u re d
F u ll S c o l e
o
1st Vn.
2ndVn.
IV
3l dVn. 4 t h V n .. .
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.
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1st V n. 2 d V n. n._ -
3l dVn. 4 th V n .
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37
1130 - 47
Full
Score
1st Vn. 2nd Vn.
3l dVn. 4 th V n .
Viola
Cello Bass
03
arco . V --
1 st V n . 2nd Vn.
, 'p p
arco.
3 rd V n .
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vf
4 th V n . 'O O
Viola
Cello Bass
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BEETHOVEN
Semplice Piano
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1 s t V io lin 2 n d V io lin 3 rd 4 th
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Viola
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1130-47
C o p y rig h t
M CM CM XL XL IX Ir.ternatiol'\-:I
u 1\ 'T1J/' b y R u b a n k . I n e , C h .e a g a . 1 1 1 .
C o p y rig h t
S e e u re d
39
F u ll
S c o re
1st V n. 2 n d V nn..
3rd V n. 4 t h V nn..
Viola
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1130 - 47
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1130-47
41
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3l dVn. 4 th V n .
r ti p
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1 '1 O
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Cello Bass
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mp
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11JfUA
1 st V n. 2 n d V n. n.
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1130 - 47
42
Viennese
14
Refrain P o p u la r
F u ll S c o r e
A ir
1 s t V io lin 2 n d V io io l i n Violin V io lin
3r d
4 th
uuu
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1
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1st V n . 2nd V no
3rd V n 4 th V n o
r ' UJIUUll 4
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1
Viola
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n C o p y r ig h t
M C M X L IX
by R ubank,
In e o . C h ie a g o ,
111.
4
I n t e r n a t ,o no no l
1130- 47
C op op yr yr i g h t
43
S e eu eu r e d
F u ll S c o r e
1 s t V n .l 2 n d V n. n. 1
3 rd V n . 4 th V n .
t.U
I Lt
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V
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A
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A
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f ag-itato o O i
o 1 st V n. 2nd V n.
3rdVn. 4 th V n .
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o Viola
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J. V
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V
V
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1st V n. 2nd V n.
3rd 3r d Vn'll< 4 th V n .
Viola
Cello Bass ' FA
U
A
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1130 1130-- 47
44
FuI
Score
V 1 st st
r:-. ,.,
V
Vn.
2n nd d Vn n. .
3rd Vn. 4t h Vn .
vr:-.
O
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O
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1st Vn. 2n nd d Vn n. .
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Viola
V
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V
Cello Bass
A
1st Vn. 2nd Vn.
3r rd d V n. n. 4t th h Vn n. .
,.,'1.-Viola
Cello Bass
1130-47
.PP45
15
rince a n d t h e Princess
Young
fro m
S ch e h e ra za d e
Full Score
R IIM M SK S K YY - K OR O R SA SA KO KO W
1 s t V io l in 2 n d V io l in 3 rd 4 th
V io lin V io lin
1I.,..
V;ola
CellO
S t n l '1 9
K ~
P.ano
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V r., V n.
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3 rd V n .
4th 4th V ,.,.
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C o p y r ig h t
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r . ,- f . 1 - f. f. U '-' ,,'--b y q u b a n k , I n e ., C h ie a g o , 1 1 1 .
46
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1 s t 'v n . 2 n d V n. n.
11
Score
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1130
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RUBANK
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From
RUBANK
ELEM ENTARV
Hovey Hovey
CLARINET
. . OBOE B ASSO O N . SAXOPHONE C OR O R NE N E T o r T RRU U M PE PE T
Skornicka Hovey Robinson
FRENCHHORN ( E j ; > Alto-Mellophone) T RRO O M BO BO NE N E o r B AR A R IT IT O ON NE
RUBANK
Skornicka Long
Follow oorf G L ik irkaed-eI nd sstt r u me m en t
(P (Pic icco colo lo)) . .Sk o rn rn ick ickaa-Pet Peter erse senn
. . . . . S k o r n ic k a - M ille r OBOE. . . . S k o r n ic k a - K o e b n e r BASSOON. . . . . . . . Voxman SA X O PHO N E ...,. S k o r n ic k a C O R N E T o r T R U M P E T . . S k o r n ic k a FRENCH HORN (Ej (Ej;> ;>Alto Alto-Mell -Mellopho ophone) ne) . . . . . . S k o r n ic k a - E r d m an CLARINET
RUBANK
ADVANCED
A S e r i e s o f Outlined A ny
F L U T E , V o l. I
. . . .V Voo x m a n - G o w e r
F l U T E , V o l. 1 1 . . . . . . . V o x m o n C LLA AR RII N E ET T ,V ooll . l.
. . V ox o x m aann - G oow w er er
C LA L A RI R I N ET E T ,V ol ol . 1 1 . . V ox o x m an a n --G G oow w er er
OBOE, V o l . I . . . . Vo V o x m a n -G o w e r O B O E , V o l. 1 1 . . . . . . . V o x m a n BASS O OO O N, N , V ooll. I . . V o x m an an - G ow ow eerr
BASSOON, V o l. 1 1 . . . . . V o x m a n SAXOPHONE, V o l . 1 1 . . . . V o x m a n or T R U M P E T , V ol ol. I . . . . . . . G o w e r -V o x m a n
PRINTED
U ..S S . 6 ..99 9
I N U .S .S ..A A.
fo r U la C lpa s sC Ioou nusrtsreuscctt i o nfor
T R O M BBO ONE
or B A R IT O N E . . . . Skornicka-Boltz E jj;; >o r B B jj;; >B A SS SS ( TTuu ba ba ) .
.
.
. . . . . . . S k o r n ic k a- B o ltz D R U M S . . . . . . . . . B u gg ert MARIMBA-XYLOPHONE MARIMBAXYLOPHONE-VI -VIBES BES . J oll ollif ifff V IO L lN . . . . . . . . . . P o tte r V I O L A . . . . . . . . . . . W a rd C E L L O . . . . . . . . . . . W a rd
METHODS rm eedd iiaa ttee or I n ttee rm CORNET
t o Follow
M et e t h oodd Series
or T R U M P E T ,
V o l.
11
. . . . . . . Go Go w e r-V o xm o n
FRENCH
HORN,
V ooll . l . G ow o w er er - V ooxx ma ma n
FRENCH
HORN,
V ol. ol. 11.Gow 11.Gow erer-V V ox m an
TROMBONE .
.
TROMBONE
.
o r B A R IT O N E , V o l. I . . . . G Goo w e r - V o x m a n o r B A R IT O N E ,
V o l.
11
. . . . . . . Go Go w e r-V o xm a n
Ej;>
o r B B j;j; > B A AS S S ( T ub ub a ) , V ooll. I
Ej ; >
o r B B ¡' B A S S ( T u b a ), V o l. 1 1
SAXOPHONE, V ol ol . I . V ooxx m aann - G oow w er er CORNET
M ETH O D S
C o u rs e s o f S tu d ie s D e s ig n e d
ar i o uuss E llee m mee nt nt a rryy of t h e V ar
.
Hovey Yoder .. DRUMS. Whistler B E L L LYRA . Peterson on M A R IM IM B A o r X Y LO LO PPH H O NE NE . Peters . Whistl Whistler er TYMPANI ., D eP eP r e s s l e s GUITAR (Spanis (Spanish). h). . . . Potter VIOLlN ,Ward .. VIOLA. .Ward CELLO. .Ward .. S TTR R IN IN G B A SS SS .
IN T E R M E D IA T E A S e rie s Individual
FLUTE
M ETHODS
A S e r i e s o f G r a d e d Fundamental Courses fo r o r L ik ik e - I n s t r u m en en t C llaa s s Instruction E j ; > or B B jj;; > B A S S (Tuba) Petersen (Piccolo) Individual
FLUTE
LlBRARY
EDUCATIONAL
w e r-V o x m a n . . . . ; . . G oow
. . . . . . . G o w e r -V o x m a n
DRUMS . . . . . . . . . W Whh i s t l e r No.327
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