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Silhouette. Josh Gottry. Cello sheet music. Viola sheet music. Violin sheet music. Intermediate.Translation
Silhouette. Josh Gottry. Cello sheet music. Viola sheet music. Violin sheet music. Intermediate.Original
Silhouette composed by Josh Gottry. For String Quartet. violin I, violin II, viola, cello. Medium. Score and parts. Duration 2. 45. Published by C. Alan Publications. CN.19300. The title of this work, Silhouette, is taken from Gottry's idea to create a short piece in the style of Mozart or Haydn, but certainly not an exact picture. The title of this work, Silhouette, is taken from my idea to create a short piece in the style of Mozart or Haydn, but certainly not an exact picture. Set in a moderate 2. 4 time and opening with the primary melodic statement in cello, the piece develops quickly into a canon as a new voice enters every eight bars. After a brief interlude of trading sixteenth notes between voices, the original statement returns for development before moving into a contrasting 3. 8 section. An accompanimental ostinato is established in the lower voices over which the upper voices play in thirds. This new idea is taken over by the lower voices as the upper parts accompany with sixteenth-note arpeggiated figures. The original material returns via another interlude for a final statement and brief coda.Translation
Silhouette composed by Josh Gottry. For String Quartet. violin I, violin II, viola, cello. Medium. Score and parts. Duration 2. 45. Published by C. Alan Publications. CN.19300. The title of this work, Silhouette, is taken from Gottry's idea to create a short piece in the style of Mozart or Haydn, but certainly not an exact picture. The title of this work, Silhouette, is taken from my idea to create a short piece in the style of Mozart or Haydn, but certainly not an exact picture. Set in a moderate 2. 4 time and opening with the primary melodic statement in cello, the piece develops quickly into a canon as a new voice enters every eight bars. After a brief interlude of trading sixteenth notes between voices, the original statement returns for development before moving into a contrasting 3. 8 section. An accompanimental ostinato is established in the lower voices over which the upper voices play in thirds. This new idea is taken over by the lower voices as the upper parts accompany with sixteenth-note arpeggiated figures. The original material returns via another interlude for a final statement and brief coda.Popular requests