Educational Music Department
Some didactic works in various formats, for easy reference and downloading. See the
"About the Site" page for a description of formats.
I worked up a few simple violin duets for my daughter's use in her teaching business, which are
presented here for free distribution among teaching professionals. These were "borrowed" from
the guitar repertoire (e.g. Carulli).
| Work | Composer | NWC Files | Midi Files (Type 1) |
PDF Scores | Text or .DOC (info) Files |
|---|---|---|---|---|---|
| Dance Duet | Anon. (18th Cent.) | dan_duet.nwc (1k) | dan_duet.mid (4.7k) | dan_duet.pdf (40k) | N/A |
| Duet in G | F. Carulli | carduetg.nwc (1k) | carduetg.mid (4.8k) | carduetg.pdf (51k) | N/A |
| Little Fugue | F. Carulli | lil_fuge.nwc (1k) | lil_fuge.mid (4.6k) | lil_fuge.pdf (44k) | N/A |
The "Der Spiegel" (The Mirror) piece below (attributed to Mozart, although there is no real proof) requires additional explanation. It is a true inverted retrograde, and is fascinating from this standpoint alone; read it right-side up for the violin I part, turn it upside-down for the Violin II part!
Werner Icking of GMD worked up a 'cello version of this, and I followed suit by working up a viola version. To keep the inverted retrograde quality, each version has to be in its own key: so, unfortunately, you can't have a sextet play it unless you don't mind it sounding really "modern" :)
In order to accomodate the viola's low range limit, I had to move a few notes. The piece is, however, still harmonically correct. The exercise revealed the inescapable conclusion that Mozart (or whoever) had way too much time on his hands.
In order to manage the upside-down clefs, etc. I had to export the PostScript files as bitmaps. This
means that the screen display in GSview may show missing lines unless you set the screen resolution
to 150 dpi. (This does not affect the quality of printed output at 300 dpi).
Somewhat more visually appealing versions of the scores (with vector graphics) can be downloaded
from Herr Icking's GMD site.
| Work | Instruments | NWC Files | Midi Files (Type 1) |
PDF Scores | Text or .DOC (info) Files |
|---|---|---|---|---|---|
| Violins | mirr-vio.nwc | mirr-vio.mid | spiegel.pdf | N/A | |
| Spiegel (Mirror) Duet | Violas | mirr-vla.nwc | mirr-vla.mid | N/A | N/A |
| 'Cellos | mirr-clo.nwc | mirr-clo.mid | N/A | N/A |
As time allows, I plan on sequencing and scoring some of my favourite guitar studies, especially those by Fernando Sor and Mauro Giuliani. To get the ball rolling, here's a few by Sor. Pains were taken to make the guitar sound as realistic as possible... let me know what you think!
Another one is Frank Bjorn's "Alley Cat", arranged with electric jazz guitar in mind, but certainly playable using any other type of guitar. It uses mostly "open" fingerings (very little barring required), and will be a fun and relatively easy study for intermediate guitarists. As indicated in the score, it is suggested that you capo your guitar to the third fret for a rich, bright sound. The midi or mp3 demo gives an idea of how I play it.
| Work | Composer | NWC Files | Midi Files (Type 1) |
ZIPped PS PostScript Files |
Other Files |
|---|---|---|---|---|---|
Study in B minor |
F. Sor | sorst1bm.nwc (4k) | sorst1bm.mid (7.5k) | sorst_bm.pdf | N/A |
| Study in C | F. Sor | sorst_c1.nwc (2.4k) | sorst_c1.mid (7.5k) | sorst_c1.pdf | info (text 1K) |
| Study in G | F. Sor | sorst_g1.nwc (5.4k) | sorst_g1.mid (8.8k) | sorst_g1.pdf | info (text 1K) |
| Study in E-flat | F. Sor | sorst_es.nwc (13k) | sorst_es.mid (14k) | sorst_es.pdf | info (text 1K) |
| Alley Cat | F. Bjorn | alleycat.nwc (5k) | alleycat.mid (8k) | alleycat.pdf (49K) | mp3 demo (995k) |
Here is where you'll find other gems that don't quite qualify as "arrangements"
(being as close as possible to the original) but don't really fit anywhere else.
A work in progress (movements listed in order of completion)
4th movement: Tema con variazioni
The story goes that one of Schubert's friends was so enamored by his song "Die Forelle" (The Trout) that he talked him into working it into one of his chamber pieces. The result was the fourth movement of the piano quintet D.667. This is the quintessential theme-and-variations, and would make a good subject for this topic in music appreciation classes. Who's got the melody? What's everyone else doing? Now what's happening to the theme?
5th movement: Allegro giusto (Finale)
This bouncy little theme would make an excellent subject for chordal analysis. Why do the relatively
remote chord changes "work" in this piece? A good example of Schubert's mastery of chord
relationships, and his knack for weaving lovely melodies around them.
| Work | Composer | NWC Files | Midi Files (Type 1) |
PDF Files |
|---|---|---|---|---|
| D.667 #4 | F. Schubert | d667-4.nwc (17k) | d667-4.mid (50k) | Score Parts Violin, Viola, 'Cello, Contrabass, Piano. |
| D.667 #5 | F. Schubert | Score & playing version (26k) Parts version (27k) |
Bright piano (60k) Grand piano (60k) |
Score Parts Violin, Viola, 'Cello, Contrabass, Piano. |
Also check out the NWC Scriptorium for other work in NWC format by myself and many other talented contributors.
If you have any problems with this site, please e-mail me, Fred Nachbaur at fnachbaur@netscape.net
This page last updated July 11, 2001.
