This shows you the differences between two versions of the page.
| Both sides previous revision Previous revision Next revision | Previous revision | ||
|
canonic_suite [2016/01/16 05:06] admin |
canonic_suite [2017/11/27 14:23] (current) |
||
|---|---|---|---|
| Line 1: | Line 1: | ||
| - | Canonic Suite by Elliott Carter | + | **Work** : Canonic Suite |
| + | ---- | ||
| + | **Composer** : Elliott Carter | ||
| + | ---- | ||
| + | **Difficulty Ranking** : [[iii|III]] | ||
| + | ---- | ||
| + | **Publisher** : Associated Music Publishers | ||
| + | ---- | ||
| + | **Year Published** : 1957 | ||
| + | ---- | ||
| + | **Instrumentation** : 4 Bb Clarinets | ||
| + | ---- | ||
| + | **Potential Pedagogical Applications** : Articulation matching, intonation (octave, unison, and | ||
| + | chordal), ensemble mechanics, phrase matching, tone development and blend, line independence, | ||
| + | handoffs, canon form | ||
| + | ---- | ||
| + | **Sample Recording** : [[https:// | ||
| + | ---- | ||
| + | **Where to Purchase Sheet Music** : [[http:// | ||
| + | ---- | ||
| + | **Annotation** : Originally written as a collection of counterpoint exercises, the threemovement | ||
| + | work for four Bb clarinets requires the players be highly aware of their part, but also of their | ||
| + | peers. Each movement utilizes the concept of canon form differently. The first movement is a | ||
| + | canon at the unison separated by a quarternote. The second movement makes use of inversion | ||
| + | and retrograde forms of the original line. The third movement is displaced by five measures. The | ||
| + | range of the work extends to F 4 and overall the work is accessible save for the key (Concert D). | ||
| + | ---- | ||
| + | {{: | ||