• Canon in D for String Orchestra by Johann Pachelbel String Orchestra - Sheet Music

Canon in D for String Orchestra Score and Parts by Johann Pachelbel String Orchestra - Sheet Music

By Johann Pachelbel

With this work, Pachelbel, who was born in Nuremberg, created one of the most popular orchestral pieces of the baroque period. In the canon two of the strictest contrapuntal forms are combined: The three violin parts form an extensive canon with entries of two bars distance. To this, a ground bass (basso ostinato) has been added repeating its two-bar tone formula 28 times. The technical mastery of the piece can be ad-mired just as much as its effect lies in the melodic and sensuous power of its string tones. The modest technical demands on the musicians are diametrically opposed to the compositional -level: They do not go beyond the third position.

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Details

Summary
Ensembles:
String Orchestra
Genres:
Baroque Period Wedding
Composers:
Johann Pachelbel
Publishers:
Schott Music
Series:
Canon in D
UPC:
884088031657
ISBN:
9790001023214
Format:
Set of Parts Score and Parts
Item types:
Physical
Level:
Intermediate
Artist:
Johann Pachelbel
Usages:
School and Community
Size:
9.0x12.0x0.245 inches
Shipping Weight:
0.85 pounds
Detailed Description
String Orchestra - intermediate

SKU: HL.49013534

Score and Parts. Composed by Johann Pachelbel. Edited by Helmut W. May. Arranged by Helmut May. This edition: Plastic cover. Sheet music. String Orchestra. Classical. Set of parts in groups, each 3 violins I-III, 3 violins ad lib., 2 violas ad lib., 3 cellos/double basses. Duration 3'. Schott Music #CON111-70. Published by Schott Music (HL.49013534).

ISBN 9790001023214. UPC: 884088031657. 9.0x12.0x0.245 inches.

With this work, Pachelbel, who was born in Nuremberg, created one of the most popular orchestral pieces of the baroque period. In the canon two of the strictest contrapuntal forms are combined: The three violin parts form an extensive canon with entries of two bars distance. To this, a ground bass (basso ostinato) has been added repeating its two-bar tone formula 28 times. The technical mastery of the piece can be ad-mired just as much as its effect lies in the melodic and sensuous power of its string tones. The modest technical demands on the musicians are diametrically opposed to the compositional -level: They do not go beyond the third position.

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