Silhouettes
by Alan Lee Silva
String Orchestra - Sheet Music

Item Number: 19891959
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Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS81

Composed by Alan Lee Silva. SWS FS. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 8+5+5+8+2+5+2+8 pages. Duration 2 minutes, 11 seconds. Carl Fischer Music #FAS81. Published by Carl Fischer Music (CF.FAS81).

ISBN 9780825891342. UPC: 798408091347. 9 x 12 inches. Key: D major.

With legato melodic lines, driving marcato phrases, and quiet pizzicato figures, Silhouettes employs a wide range of musical techniques for young players to grasp. Composer Alan Silva makes it all come together in an effortless-sounding piece for developing string groups.
With legato melodic lines, driving marcato phrases, and quiet pizzicato figures, Silhouettes employs a wide range of musical techniques for young players to grasp. Written in D major, the piece begins with four measures of unaccompanied, solo violin playing the lyrical A-melody. In the next four measures, it is supported by open-string, double-stop sustains in the second violins and violas. Pizzicato cellos and basses fill out the sound with punctuated roots and fifths in m. 9, along with quiet staccatos in the second violins and violas as the entire first violin section plays the main melody. The B-theme (mm. 17-26) is played legato; the ensemble swells are integral to the expressiveness of this section. Cellos and basses take over the melody at m. 27, and then hand the tune off to the second violins and violas in mm. 31-34. Measure 35 shifts mood, the dynamics drop, and the piece moves to the relative B minor. In mm. 39-46, the lyrical solo violin returns, reprising the A-melody, accompanied in the new tonal atmosphere by pulsing quarter notes in the second violins and violas and sustained roots in the low strings. In mm. 47-54, the intensity increases as the ensemble plays marcato figures, buildingonce more to a soaring, legato B-theme in m. 55. Upon the return to the relative major in the B-section at m. 55, the run-up to the ending then begins at m. 63. There, staggered entrances throughout the ensemble reveal the final statement of the -A theme, and ascending lines at mm. 66-67 in the first violins highlight the punctuated, concluding phrase.