Kjos String Orchestra SO260F Greensleeves Variationskjos.vo.llnwd.net/o28/pdf/SO260_score.pdf ·...
Transcript of Kjos String Orchestra SO260F Greensleeves Variationskjos.vo.llnwd.net/o28/pdf/SO260_score.pdf ·...
Kjos String OrchestraGrade 4
Full Conductor ScoreSO260F
$7.00
Neil A. Kjos Music Company • Publisher
Richard Stephan
GreensleevesVariationsGreensleevesVariations
SAMPLE
SO260
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The ComposerRichard Stephan earned degrees from the State University of New York at
Fredonia and the Eastman School of Music, with advanced work at the Universityof Buffalo and Brigham Young University. He taught instrumental music in thepublic schools of Buffalo and was an orchestra director and Coordinator of Musicin the Hamburg, New York, schools for thirteen years. In 1968, Mr. Stephan joinedthe faculty of the Crane School of Music, S.U.N.Y. at Potsdam, where he was thesymphony orchestra conductor and string education professor for the followingthirty-two years.
Mr. Stephan has appeared as a guest conductor/clinician in New York, Ohio,Utah, Kansas, Pennsylvania, Hawaii, and Ontario, Canada. He conducted theopening ceremonies of the 1980 Winter Olympics and in 1984 was honored witha Fulbright Senior Scholar Award to lecture and conduct in Australia. His Fanfare
and Frippery was the 1986 National School Orchestra Association Composition Contest winner and he has over threedozen published works for string, full, and studio orchestra to his credit. Since his retirement from teaching in 2000,Mr. Stephan has continued his writing and guest conducting.
The CompositionI have always had a deep regard and admiration for the melody that we now know as “Greensleeves.” Using this
as a basis for a set of variations was quite attractive to me. However, after much thought and with respect for thebeauty of this time-honored tune, I decided to base the variations on the implied harmonic structure of the piecerather than on the melody.
The original melodic presentation should grow from the simplicity of the legato celli statement to the full,balanced harmonization at measure 9. Both the theme and the first variation are best served with long, smoothbowing. The fermati between variations should be as brief as possible, allowing only enough time to prepare physicallyand mentally for the next tempo and style.
The odd-numbered variations (with the exception of the last one) are generally in a slow tempo and are to beplayed with attention to beauty of tone and sensitivity to phrasing. The even-numbered variations (except VariationIV) need to be approached with both vigorous, firm bowing that digs well into the string, and with strict adherenceto a lively, steady tempo. Pizzicato movements can easily end up racing to the finish. To maintain a steady, unrushedpace in Variation IV, have the students subdivide the beat by counting the “ands” while you conduct the piece in “one.”
A few other details need to be considered, including the delicate staccato on beat two in Variation III; the balancein the second half of Variation V allowing the cello line to predominate; the accents that create the “rhythmicdissonance” in Variation VI; and a controlled ritard spread over three measures returning to the majestic Finale.Although the melody must come through clearly, it is also important that the divisi harmony voices are balancedproperly to obtain the desired richness of texture.
I hope you enjoy!
Instrumentation List (Set C)8 – 1st Violin8 – 2nd Violin5 – Viola 5 – Cello5 – String Bass1 – Full Conductor Score
Additional scores and parts are available.
Learning BankEach student part includes a Learning Bank featuring historical information about “Greensleeves.” The Learning
Bank is also printed on page 3 of this score.
SAMPLE
3
Learning Bank: The History of “Greensleeves”
The song “Greensleeves” has a long and complicated history that spans over 400 years. Originally written by ananonymous English musician during the Renaissance, “Greensleeves” has traveled on an intriguing journey to reachour modern songbook. In the mid 16th century, it was very common for pieces of music to enter popularconsciousness through anonymous sources. Legend has it, however, that the true composer of “Greensleeves” wasKing Henry VIII (1491-1547). Modern scholars know that the English king was an active musician and that he wrotelyrics to the “Greensleeves” melody for his friend Anne Boleyn. Despite this evidence, the theory that the famedHenry VIII wrote “Greensleeves” has been refuted by many music historians, who claim that the Italian-influencedstyle of the piece did not start appearing in England until after Henry’s death. The true origin of one of the most well-known songs in Western culture, therefore, remains a mystery.
Lyrics to “Greensleeves” were first published in 1580, but the song almost certainly had a history in the oraltradition before that date. It was so popular in late Renaissance England that William Shakespeare even mentions itin his play The Merry Wives of Windsor (c.1602). At the end of the 16th century, lute player Francis Cutting wrotevariations on the “Greensleeves” melody (“variations” are musical structures that repeat the same theme with differentmodifications each time). Unlike Richard Stephan’s Greensleeves Variations, which states the melody at the beginning,Cutting’s piece never states the actual melody. Many scholars agree that the tune was so popular at the time that thelute player did not need to play it at all; indeed, he simply needed to imply the melody through his variations for theaudience to understand the musical reference. The large number of humorous parodies of the song from the sameperiod also attest to the ubiquity of “Greensleeves” in late 16th century English life.
In addition to its early history as a love song, “Greensleeves” was first given Christmas-themed lyrics in the mid17th century (“The Old Year Now Away Has Fled”). This new holiday context for the song remains with us to thepresent day. In the 1860s, the Englishman William Chatterton Dix wrote yet another set of lyrics to “Greensleeves”and published his version under the title “What Child Is This?” Dix’s version endures today as a well-loved Christmascarol.
SO260
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SO260
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Peacefully, Smoothly (e = 90)
Violins
Viola
Cello
String Bass
1 1 2 3 4
2
mf
Stately
Vlns.
Vla.
Cello
Str. Bass
1
5
6 7 8 mf
9
f
2
Viola cue
mf
end cue
Play
mf f
mf
f
f
f
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Greensleeves VariationsFull Conductor ScoreApprox. time – 8:00 Richard Stephan
SAMPLE
5
SO260
Vlns.
Vla.
Cello
Str. Bass
1
10
11
12
13
14
2
Calmly
Vlns.
Vla.
Cello
Str. Bass
1
15
dim.
16
mf
17Variation I
18 19
2
dim.
mf
dim.
mf
dim.
mf
dim.
Vlns.
Vla.
Cello
Str. Bass
1
20 21 22 23
24
2
pizz.
mf
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SO260
6
Vlns.
Vla.
Cello
Str. Bass
1
25
f
26 27
28 29 30
2
f
f
f
f
Aggressively (q = 135)
Vlns.
Vla.
Cello
Str. Bass
1
31
32
rit.
33
Var. II
34f 35 36
2
rit.
f
rit.
f
rit.
f
rit.
f
arco
Vlns.
Vla.
Cello
Str. Bass
1
37
38 39 40 41 42
2
SAMPLE
7
SO260
Vlns.
Vla.
Cello
Str. Bass
1
43 44 45 46 47 48
2
Vlns.
Vla.
Cello
Str. Bass
1
49
mp
50
cresc.
51 52
mf
53
mp
54
cresc.
2
mp
cresc.
mf
mp
cresc.
mp
cresc.
mf
mp
cresc.
1st Time Tacit
mp
Play
mf
cresc.
1st Time Tacit Play
mf
1.
2.
Daintily (q = 90)
Vlns.
Vla.
Cello
Str. Bass
1
55
56
f
57
58
f
Var. III
59
p 60
2
f
f
p
f
f
p
f
f
p
cresc.
f
f
pizz.
p
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SO260
8
1.
Vlns.
Vla.
Cello
Str. Bass
1
61
62
63
64
65
2
2.
Vlns.
Vla.
Cello
Str. Bass
1
66
67
68
69
70
2
,
Vlns.
Vla.
Cello
Str. Bass
1
71
f
72 73 74 75
dim.
76
2
f
dim.
f
dim.
f
dim.
f
dim.
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9
SO260
Vlns.
Vla.
Cello
Str. Bass
1
77
mp
78 79
f
80 81 82
2
mp
f
mp
f
mp
f
mp
f
Lively (h. = 58)
Vlns.
Vla.
Cello
Str. Bass
1
83
dim.
84 85
p
poco rit.
86
Var. IV
87 88 pizz.
f
2
dim.
p
poco rit.
pizz.
f
dim.
p
poco rit.
f
pizz.
dim.
p
poco rit.
pizz.
f
dim.
p
arcopoco rit.
pizz.
f
Vlns.
Vla.
Cello
Str. Bass
1
89 90 91 92 93 94
2
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SO260
10
Vlns.
Vla.
Cello
Str. Bass
1
95
96 97 98 99 100
2
Vlns.
Vla.
Cello
Str. Bass
1
101 102 103 104 105 106
2
Vlns.
Vla.
Cello
Str. Bass
1
107
108
109
110 111 112
2
SAMPLE
11
SO260
Vlns.
Vla.
Cello
Str. Bass
1
113
114 115
116
117
118 arco
p
2
Peacefully (q = 78)
Vlns.
Vla.
Cello
Str. Bass
1
119Var. V
120 121
122
123
124
2
arco
p
arco
p
p
arco
p
(pizz.)
Vlns.
Vla.
Cello
Str. Bass
1
125
126
127
128 129 130
2
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SO260
12
Vlns.
Vla.
Cello
Str. Bass
1
131
132 133
134
135
mf 136
2
mf
mf
mf
mf
1.
Vlns.
Vla.
Cello
Str. Bass
1
137 138139
140 141 142
2
2.Vigorously (In One: h. = 60)
Vlns.
Vla.
Cello
Str. Bass
1
143
144
rit.
145pp
146
147
Var. VI
f
148
2
rit.
pp
f
rit.
pp
f
rit.
pp
f
rit.
pp
arco f
SAMPLE
13
SO260
Vlns.
Vla.
Cello
Str. Bass
1
149 simile
150 151 152
153
154
2
simile
simile
simile simile
Vlns.
Vla.
Cello
Str. Bass
1
155
156
157
158
159 160
2
Vlns.
Vla.
Cello
Str. Bass
1
161
162
163
164 165 166
2
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SO260
14
Vlns.
Vla.
Cello
Str. Bass
1
167
168
169 170 171
172
2
Vlns.
Vla.
Cello
Str. Bass
1
173
174 simile 175 176 177 178
2
simile simile
simile
simile
Vlns.
Vla.
Cello
Str. Bass
1
179
180
181
182
183 184 ,
mf
2 ,
mf
,
mf
SAMPLE
15
SO260
Joyfully (in the same tempo)
Vlns.
Vla.
Cello
Str. Bass
1
185Var. VII
186 187
188
189
190
2
mf
div. unis.
mf
Vlns.
Vla.
Cello
Str. Bass
1
191
cresc.
192 193
fp
194
mf
195
2 cresc.
fp
mf
cresc.
fp
mf
cresc.
fp
mf
cresc.
fp
mf
Vlns.
Vla.
Cello
Str. Bass
1
196
197
198
199
200
2
,
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SO260
16
Vlns.
Vla.
Cello
Str. Bass
1
201
202 203
204 205
2
Vlns.
Vla.
Cello
Str. Bass
1
206
207 208
209 210
2
Vlns.
Vla.
Cello
Str. Bass
1
211
212
213
214
rit.
215
2
rit.
div.
rit.
rit.
div. unis.
rit.
SAMPLE
17
SO260
Majestically (q = 80)
Vlns.
Vla.
Cello
Str. Bass
1
216
div.217
Finale
ff
218 219 220
2
unis.
ff
ff
div.
ff
ff
Vlns.
Vla.
Cello
Str. Bass
1
221 222
223dim.
224
225
unis.
p 226
2
dim.
p
dim.
p
dim.
unis. p
dim.
p
Vlns.
Vla.
Cello
Str. Bass
1
227
228
229
230
231
232
2
pizz.
SAMPLE
SO260
18
Vlns.
Vla.
Cello
Str. Bass
1
233
mf
gradual cresc.
234 235
236
237
238
2
mf
gradual cresc.
div.
unis.
mf
gradual cresc.
mf
gradual cresc.
arco
mf
gradual cresc.
Vlns.
Vla.
Cello
Str. Bass
1
239
240
f div. 241
ff
242 243
2
f div.
ff
f div.
ff
f
ff
f
ff
Vlns.
Vla.
Cello
Str. Bass
1
244 245 246 247
molto rit.
248
2
molto rit.
unis.
molto rit.
div.
molto rit.
molto rit.
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