Centrifuge

SKU: CF.YAS183F

ISBN 9781491151853. UPC: 680160909353. 9 x 12 inches.

Kathryn Griesinger builds the forceful minor theme of Centrifuge on a repeating motif of rotating eighth notes. Based on the scientific principle of centripetal force, this piece offers a vortex of expanding and falling energy, with easy finger patterns in first position. Centrifuge is a whirlwind of excitement, and it is well within the reach of developing players. An optional piano part is also included.
Like the rotational force of the mechanical centrifuge, a repeating eighth-note motif gives this piece the feel of a spinning cyclone, constantly building energy and momentum. Driving rhythms in the cello and bass should be strong and steady. Viola and Violin 2 parts are written closely, often doubled for a strong echoing voice. Eighth-note patterns sound best if played at the middle or balance point of the bow, to enable easy transitions between springy, short staccatos and long, full half notes on the string. Students have ample opportunities to practice low-two finger patterns and create dramatic dynamic contrasts. The pizzicato section should remain steady, maintaining a sense of urgency and excitement. The dark minor tonality and sense of motion make this a powerful piece students will love to play!

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: CF.YAS183

ISBN 9781491151488. UPC: 680160908981. 9 x 12 inches. Key: E minor.

Kathryn Griesinger builds the forceful minor theme of Centrifuge on a repeating motif of rotating eighth notes. Based on the scientific principle of centripetal force, this piece offers a vortex of expanding and falling energy, with easy finger patterns in first position. Centrifuge is a whirlwind of excitement, and it is well within the reach of developing players. An optional piano part is also included.
Like the rotational force of the mechanical centrifuge, a repeating eighth-note motif gives this piece the feel of a spinning cyclone, constantly building energy and momentum. Driving rhythms in the cello and bass should be strong and steady. Viola and Violin 2 parts are written closely, often doubled for a strong echoing voice. Eighth-note patterns sound best if played at the middle or balance point of the bow, to enable easy transitions between springy, short staccatos and long, full half notes on the string. Students have ample opportunities to practice low-two finger patterns and create dramatic dynamic contrasts. The pizzicato section should remain steady, maintaining a sense of urgency and excitement. The dark minor tonality and sense of motion make this a powerful piece students will love to play!

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: XC.ICB2205

12 x 9 inches.

This piece has plenty of musical inertia to make it a forceful and popular piece with your students and audience alike. Starting with a drama filled mysterious opening that leads to a powerful, up-tempo and rhythmic main section with interplay between the opening material to give the piece unity.

SKU: HL.14031827

ISBN 9788759871089. Danish-English.

Pre face The three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts: it is followed by a second movement, whose basic mood of meditative rest is challenged by occasional centrifugal utbursts, while the third movement takes the inherent conflicts to a higher level, contrasting material of introspective lyricism with excessively pathetic moods. The final way out is a retrograde one, (back) into the source: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The into the source of the titlemay be visualized as a reversed fountain-action: the broad fan-like spread of the first movement, a more coherent-solid second movement, and finally - in the third movement - a return-run, ever more vehemently, like a suction into the spring itself ... The musical motifs are varied: there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different, but simultaneous tempi, and there are more abstract upwards and downwards half-tone-scales, with changing accents, creating glimpses of melodies. INTO THE SOURCE, String Quartet No. 9, was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fe in 2002 and in Oslo in 2003. Per Norgard.

SKU: XC.ICB2205FS

12 x 9 inches.

This piece has plenty of musical inertia to make it a forceful and popular piece with your students and audience alike. Starting with a drama filled mysterious opening that leads to a powerful, up-tempo and rhythmic main section with interplay between the opening material to give the piece unity.

SKU: HL.14025352

ISBN 9788759885420. English-Danish.

Pre face The three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts: it is followed by a second movement, whose basic mood of meditative rest is challenged by occasional centrifugal utbursts, while the third movement takes the inherent conflicts to a higher level, contrasting material of introspective lyricism with excessively pathetic moods. The final way out is a retrograde one, (back) into the source: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The into the source of the titlemay be visualized as a reversed fountain-action: the broad fan-like spread of the first movement, a more coherent-solid second movement, and finally - in the third movement - a return-run, ever more vehemently, like a suction into the spring itself ... The musical motifs are varied: there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different, but simultaneous tempi, and there are more abstract upwards and downwards half-tone-scales, with changing accents, creating glimpses of melodies. INTO THE SOURCE, String Quartet No. 9, was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fe in 2002 and in Oslo in 2003. Per Norgard.

SKU: M7.DOHR-94155

ISBN 9790202001554.

SKU: KJ.SO345F

UPC: 084027041901.

This vigorous and syncopated selection features a modern twist on the fugue, with jagged and dramatic themes and an unrelenting forward momentum. Based on the image of centrifugal force, your students' heads will spin at the rushing intensity of Mr. Daniels's dynamic musical forces. A real joy to play. 2:51.

SKU: SU.95010280

Instrumentation : 2,1 2,1 2,Eb,bcl 2; 4331; 4perc, pno/cel, stgs Duration: 18' Full Score & Parts: available on rental Composed: 1988 Published by: Subito Music Publishing A work that utilizes with persuasive eloquence a wide range of orchestral colors and compositional techniques. Zaimont lays out in clear display her formal concepts, contained masterfully by a centrifugal moving tonality that never lacks direction. -- The Greenville (SC) News.

SKU: OU.9780193364554

ISBN 9780193364554. 12 x 8 inches.

for piano quintet
Inspired by Rothko canvases, this 15 minute study starts by revolving around a high D, acting as a line of centrifugal force from which microtones pull away. Gradually little interruptions and playful ripples begin to disturb the sustained notes until they grow into a frenetic rondo and end by building to a climax dominated by a similar high note. Various musical ideas are utilized throughout, effectively emulating the textures and gradations of colour employed within a painting.