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With introductory text, instructional text, illustrations, standard notation and fingerings. Composed by Domenico Scarlatti Edited by Bengt Johnsson. Sheet Music.

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Henle Music Folios. Urtext edition-paper bound.

Collection softcover. With introductory text and performance notes. Henle HN Henle HL. Piano - Level 6 From the 17th, 18th, and 19th Centuries. Composed by Keith Snell. Piano - Level 9 Composed by Keith Snell.

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Edited by Susanne Cox. Baroque, Classical. Piano - Difficulty: medium Edited by Amy Appleby. Baroque, Classical Period and World. Softcover collection spiral bound. With fingerings does not include words to the songs. Music Sales AM Standard Literature that Motivates. Edited by Jane Magrath. Classical and Instructional.

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With standard notation, fingerings and introductory text does not include words to the songs. Solo piano - Early Advanced Book 3. Edited by Carole L. Bigler and Valery Lloyd-Watts. Masterworks Books. Piano - Level 4 Composed by Keith Snell. Piano - Early Advanced Book 4. Piano - Level 7 Composed by Keith Snell. This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties. You consent to our cookies and privacy policy if you continue to use this site. Please see our Privacy Policy for details.

By signing up you consent with the terms in our Privacy Policy. I am a music teacher. Look Inside. Belwin Master Duets Clarinet , Volume A Baroque-Style Christmas. BMus and MMus composition students are required to compose 2 works each semester under the supervision of their studio teachers.

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During their studies, students are expected to compose for instrumentations ranging from solos to large ensembles, including orchestra. They should explore the various compositional approaches found in contemporary music but also use their semesterly projects as a means to discover and explore their own compositional interests.

Students are encouraged to incorporate traditional, folk and other instruments and ensembles available in the region, as well as computer music and live electronics in their compositions. In consultation with their studio teacher, students determine which instrumentations they will address each semester.

Major study involves additional requirements including attendance at weekly composition seminars and other composition-focused events, musicianship skills training, and the Annual Reflection.

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Instructors may also assign readings, analyses, journal writing, etc. These will form part of your weekly assessment grade. This document is available from the programme directly. Composition students are expected to have at least one performance or presentation, in case of installation pieces or other electroacoustic media not involving live performance of their composed works each semester, except for the 1st year students in their first semester. There are a number of opportunities organized by the programme each year. Students are encouraged to take advantage of these. Students should consult their major study teacher, mentor, or the Assistant Dean of Composition and Contemporary Music to determine an suitable performance opportunity noon recital, SoundBites, etc.

At the end of each semester, students are required to submit a portfolio of their works for jury grading. All portfolios are to be submitted to the Conservatory Academic Affairs Office. Late submissions will incur a penalty of half a letter grade per day.

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Guidelines for submitting the composition portfolio are listed below. Students must follow the guidelines below when submitting their portfolios at the end of each semester for evaluation. If there are further questions concerning the submission of the portfolio, please direct them to your studio teacher. The assessment weighting for Year 4 is as follows:. Students in many majors complete a capstone project in the final year of their degree programme that acts as a culminating learning activity. It is an opportunity for students to further the trajectory of interests developed during their studio studies and related compositional activities undertaken at the Conservatory in their first three years.

The specific format, content, and nature of the FYP are open. It could include a portfolio of original compositions, a single large-scale work, a sound or multimedia installation, or another composition-related project. The project should consist of a minimum of 25 minutes of music. It must be original material and not include work that has been previously assessed. Students should develop their FYP in close consultation with their studio teacher. Students propose their Final Year Projects to the composition department, which must approved it. Since proposals may require some revisions, it is important that students follow the FYP proposal deadline.

If there are any required revisions, the student will be advised on nature of the necessary revisions and informed of a revision deadline. We aim to have approval for all FYPs by end of the semester in which it is submitted so that students can begin working on their FYP during the semester holidays May-July. The FYP is not an additional project on top of other semesterly major study requirements. Through your weekly lessons, you will receive mentoring on the compositions during their development as well as preparation for your presentation, review of portfolio, etc.

Student should recognize that the FYP has a few components.

In addition to completing the composition s , each composition must be performed and recorded. Finally, at the end of the academic year, the student offers a public presentation on the compositions in the FYP. The Final Year Project is a requirement for graduation. In addition, students are required to attain a minimum of a C grade in their Final Year Project to pass. Students who fail to attain the minimum grade must reschedule their FYP for the following semester.

You should develop your FYP in consultation with your major study teacher.