Chesapeake Sails Full Score and Parts by Joseph Compello String Orchestra - Sheet Music

SKU: CF.YAS21

ISBN 9780825854897. UPC: 798408054892. 8.5 x 11 inches. Key: G major.

The main theme of Chesapeake Sails (m.6) may strike some listeners as being reminiscent of a speedy sailboat rapidly gliding over the waves. To that end, strive for a brisk tempo and a robust, propulsive style. The repeated notes in the accompaniment, beginning at m. 5 in the 2nd violins, and violas, must be performed as crisply as possible. As a contrast, the theme in the 1st violins should be lyrical and flowing. Beginning at m. 32, allow the cellos to sing out above the ensemble. In the fugue, beginning at m. 52, balance all parts carefully. At the recapitulation (m.76), having the 1st violins play an octave higher will have a thrilling effect. At m. 86, allow the ensemble to vigorously dig into the chords, stressing the dissonance between the notes B and C. At mm. 88 and 89, there is a canon between the violas and cellos. Make the two voices distinct by stressing the octave leaps as they occur a measure apart. Also at m. 88, be certain that the rhythm in the basses dovetails with the accents in the 2nd violins. Thank you for choosing this composition. I hope you and your students will enjoy it. Your comments are always most welcome. Joseph Compello Glen arm, Maryland, 2004.
The main theme ofA Chesapeake SailsA (m.6) may strike some listeners as being reminiscent of a speedy sailboat rapidly gliding over the waves. To that end, strive for a brisk tempo and a robust, propulsive style. The repeated notes in the accompaniment, beginning at m. 5 in the 2nd violins, and violas, must be performed as crisply as possible. As a contrast, the theme in the 1st violins should be lyrical and flowing. Beginning at m. 32, allow the cellos to sing out above the ensemble. In the fugue, beginning at m. 52, balance all parts carefully. At the recapitulation (m.76), having the 1st violins play an octave higher will have a thrilling effect. At m. 86, allow the ensemble to vigorously dig into the chords, stressing the dissonance between the notes B and C. At mm. 88 and 89, there is a canon between the violas and cellos. Make the two voices distinct by stressing the octave leaps as they occur a measure apart. Also at m. 88, be certain that the rhythm in the basses dovetails with the accents in the 2nd violins. Thank you for choosing this composition. I hope you and your students will enjoy it. Your comments are always most welcome. Joseph Compello Glen arm, Maryland, 2004.
The main theme of Chesapeake Sails (m.6) may strike some listeners as being reminiscent of a speedy sailboat rapidly gliding over the waves. To that end, strive for a brisk tempo and a robust, propulsive style. The repeated notes in the accompaniment, beginning at m. 5 in the 2nd violins, and violas, must be performed as crisply as possible. As a contrast, the theme in the 1st violins should be lyrical and flowing. Beginning at m. 32, allow the cellos to sing out above the ensemble. In the fugue, beginning at m. 52, balance all parts carefully. At the recapitulation (m.76), having the 1st violins play an octave higher will have a thrilling effect. At m. 86, allow the ensemble to vigorously dig into the chords, stressing the dissonance between the notes B and C. At mm. 88 and 89, there is a canon between the violas and cellos. Make the two voices distinct by stressing the octave leaps as they occur a measure apart. Also at m. 88, be certain that the rhythm in the basses dovetails with the accents in the 2nd violins. Thank you for choosing this composition. I hope you and your students will enjoy it. Your comments are always most welcome. Joseph Compello Glen arm, Maryland, 2004.
The main theme of Chesapeake Sails (m.6) may strike some listeners as being reminiscent of a speedy sailboat rapidly gliding over the waves. To that end, strive for a brisk tempo and a robust, propulsive style. The repeated notes in the accompaniment, beginning at m. 5 in the 2nd violins, and violas, must be performed as crisply as possible. As a contrast, the theme in the 1st violins should be lyrical and flowing. Beginning at m. 32, allow the cellos to sing out above the ensemble. In the fugue, beginning at m. 52, balance all parts carefully. At the recapitulation (m.76), having the 1st violins play an octave higher will have a thrilling effect. At m. 86, allow the ensemble to vigorously dig into the chords, stressing the dissonance between the notes B and C. At mm. 88 and 89, there is a canon between the violas and cellos. Make the two voices distinct by stressing the octave leaps as they occur a measure apart. Also at m. 88, be certain that the rhythm in the basses dovetails with the accents in the 2nd violins.Thank you for choosing this composition. I hope you and your students will enjoy it. Your comments are always most welcome.Joseph CompelloGlen arm, Maryland, 2004.
The main theme ofxa0Chesapeake Sailsxa0(m.6) may strike some listeners as being reminiscent of a speedy sailboat rapidly gliding over the waves. To that end, strive for a brisk tempo and a robust, propulsive style. The repeated notes in the accompaniment, beginning at m. 5 in the 2nd violins, and violas, must be performed as crisply as possible. As a contrast, the theme in the 1st violins should be lyrical and flowing. Beginning at m. 32, allow the cellos to sing out above the ensemble. In the fugue, beginning at m. 52, balance all parts carefully. At the recapitulation (m.76), having the 1st violins play an octave higher will have a thrilling effect. At m. 86, allow the ensemble to vigorously dig into the chords, stressing the dissonance between the notes B and C. At mm. 88 and 89, there is a canon between the violas and cellos. Make the two voices distinct by stressing the octave leaps as they occur a measure apart. Also at m. 88, be certain that the rhythm in the basses dovetails with the accents in the 2nd violins.Thank you for choosing this composition. I hope you and your students will enjoy it. Your comments are always most welcome.Joseph CompelloGlen arm, Maryland, 2004.

About Carl Fischer Young String Orchestra Series

This 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