Johannes Brahms Waltz Opus 39 No. 15 arranged for piano duet. The primo part player contributes with the melodic element whilst the secondo player pla Show More...
Johannes Brahms Waltz Opus 39 No. 15 arranged for piano duet. The primo part player contributes with the melodic element whilst the secondo player plays the bass and chords.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on one side of the stereo channel and the secondo part sounds on the other. Accompaniments are available playing at 96, 100, 104. 108 and 112 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. When performing printing two pages of music onto one side of A4 offers a practical solution for players in respect to managing the music desk.
The realisation plays back at 108 quarter note crotchet beats to the minute.
This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score.
The last eight bars particularly in the primo part need to be played with a light touch.
Formally the pattern of the music can be described as ABABA
The ornaments have been incorporated into the sheet music in the notation to add clarity of intention.
In the video score, which can be viewed on our YouTube Channel the graphics, namely the score detail, behaves rather consistently and some are missing
Brahms Waltzes Opus 39 were composed in 1865 a time in music history when piano duets were very popular particularly for use in music rooms in 19th century homes. Along with other more intimate music of the time, such as lied (song) they were often described as being salon music. Schubert, Brahms, Dvorak and others composed music specifically intended to be played as piano duets whilst there were arrangements of symphonies and other music of the day.
The waltz emerged as a popular dance form in secular music during the 19th century and was used in both vocal and instrumental music.
Analysis particularly of the secondo part reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale of A all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history.
The piano available to Brahms in the late 1860’s would have had a much thinner sound compared with a modern instrument. As the tonal qualities would not have as been as strong as a modern piano players may need to consider softening and quietening their approach to playing the bass octaves.
Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This miniature requires a relatively basic keyboard technique and is an excellent introduction to playing his music on a keyboard.
Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances.
There are many piano duets to explore on the PlentyMusic website and more will be added in the future.
There is a solo piano version of the waltz also available. Close
Added: 23rd January, 2023 12:01 PM |
Views : 1128
The Keyboard Sonata in D minor K.417 is a Fuga and can be performed on either the harpsichord, organ or piano and is believed to date from 1754. It is Show More...
The Keyboard Sonata in D minor K.417 is a Fuga and can be performed on either the harpsichord, organ or piano and is believed to date from 1754. It is composed in a style that refences the past and the notation in long notes imitates the style of writing associated particularly with the polyphonic lines of church music. It has some beautiful soaring lines and is a great piece of music for both the player and listener. Domenico Scarlatti did not compose many fugues and whilst he worked in relative isolation his compositional approach anticipates and looks to the future rather than the past. His father, Alessandro was the one more inclined to compose fugues. The organ realisation plays back at 84 half note beats to the minute. Domenico Scarlatti although born in Italy spent most of his working life employed by the Royal Courts in Portugal and Spain working as a musician, composer and teacher particularly of members of the royal household. His contribution to the repertoire are his 550+ keyboard sonata most of which are very inventive pieces in AB binary form. Little of his music was published in his own lifetime. Close
Added: 7th September, 2020 09:09 AM |
Views : 3999
This is an edited music score in that it has has some score detail to assist players in their performance and practice. The sonata needs to be played Show More...
This is an edited music score in that it has has some score detail to assist players in their performance and practice. The sonata needs to be played with a one in a bar feel. A tempo of 96 dotted quarter notes (crotchets) is used in the realisation. Ornaments need to have a clear rhythmic shape with the main ornament being the 4 note mordent beginning on the upper note. There is no consistency amongst performers in terms of when and how the ornaments are played in many of Scarlatti sonatas and the same is true of this one. The additional ornaments that features in the inner parts of bars 97, 101, 105, 108, 112 and 116 maybe omitted particularly when learning the sonata. It is probably best to avoid playing the repeats when learning this piece and many Scarlatti sonatas are in fact performed without all the repeats being played. Changing the finger used on a repeating note is a technique that can be applied in the left hand. A very light touch is required to play the movement at a tempo which allows the intensity of the music to come alive. There are times when the left hand is playing staccato and the right hand legato and other times when both hands are playing staccato. Whilst texturally quite straight forward this is a demanding sonata to play requiring a secure technique, control with the fingers close to the keys. Close
Added: 27th July, 2017 11:07 AM |
Views : 2699
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A tempo of 48 half notes (mini Show More...
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A tempo of 48 half notes (minim) beats to the minute is suggested. As a slow movement there are many interpretations as to how the ornaments are played and the music editor suggests that it would be worthwhile to spend some time listening to recordings of this sonata. Please observe that only the first two notes of four note ornaments have the fingering notated. Remember that the trill and the mordent sign mean essentially the same - if the ornament is cadential then it is likely and possible to have more notes with the tr sign is used. There is also scope for the confident player to add additional ornaments particularly in the playing of the repeats. There are other solutions to playing the ornaments but the ones suggested here keep very much to contemporary performance practice. Appoggiaturas (leaning notes) and acciaccaturas (crushed notes) in slow tempo works do presents a challenge as far as the interpretation and function. Music editors do tend to show evidence of an over understanding the interpretation of the ornaments. The best advice is to keep it simple, familiar and current - interpret the best of modern performance practice.The realisation is limited in respect to its interpretation of the score and the repeats are not played. Not too much use sustaining pedal is recommended and a rit. (slowing down) at the end of the two main sections is appropriate. The triplet motive introduced in bar 9 is indicated in the score for a couple of bars and then the symbol is omitted as is the case is conventional music setting. The music in this keyboard sonata possesses beauty and presence and the work should be played with delicacy and clarity. The interpretative qualities of a performance need to perhaps be more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections. Close
Added: 27th July, 2017 11:07 AM |
Views : 2823
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very appealing keyboard sona Show More...
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very appealing keyboard sonata although there are not many recordings of this sonata available. Whilst the composers style is in evidence it is also a work in which a variety of moods are explored. A tempo of 96 half note (mimim) beats to the minute is suggested and used in the realisation. It is a sonata allowing the player to explore options in legato and staccato keyboard articulations. This takes place in the repeat sections. The edited score has articulation and dynamic markings clearly indicated. Interestingly there are interpretations in which the performers improvise around the shapes offering rhythmic variants and something more than just additional ornamentation. This features in the two repeat sections. Observation of how ornaments particularly at cadences are performed suggests that whilst there is a script there is a tendency for performers to become very individual and even extreme in their interpretations. Close
Added: 27th July, 2017 11:07 AM |
Views : 2430
This is an edited music score in that it has some score detail to assist players in their performance and practice. One of Scarlatti’s easier keyboa Show More...
This is an edited music score in that it has some score detail to assist players in their performance and practice. One of Scarlatti’s easier keyboard sonatas but nevertheless one that offers plenty of musical and interpretative challenges to the player. It is essentially a two part movement. A tempo of 90 half note beats to the minute is used in the realisation with the repeats not being played. This music needs to be played rhythmically with energy and little use of the sustaining pedal although it can be used in the closing bars of the A and B sections. This is an excellent movement for developing a skill set in terms of being able to articulate the playing of a melody line with a range of keyboard touches - legato, staccato, tenuto etc. There are rits. (slow down) at the end of the A and B sections on the repeats. This sonata like many other Scarlatti works is excellent for developing interpretative skills and performance experience. Varying and adding to the ornamentation in the repeats is an option. Many competent pianists play this relatively easy sonata adding additional music to the to the texture suggesting that in Scarlatti’s time improvisation was an aspect of performance practice. A plain score is also appended to the edited music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 2601
This is an edited music score in that it has has some score detail to assist players in their performance and practice. The melody of this keyboard so Show More...
This is an edited music score in that it has has some score detail to assist players in their performance and practice. The melody of this keyboard sonata needs to be played with clarity and a lightness of touch with little use of the sustaining pedal at a secure and steady tempo. A tempo of 60 quarter note (crotchet) beats to the minute is used in the realisation and the repeats are not played. A slow tempo requires a very concentrated approach but does allow much more freedom in terms of the number of notes that can be played in a trill. In a slow movement it is often easier to play more notes in a trill to keep a more balanced rhythmic shape. The left hand chord on beat 4 of bar 13 could be spread although this is not marked in the score. The scores presented by many publishers are actually quite inaccurate particularly in respect to the rhythmic detail at the approaches to the important cadence points. There is the option of considering different and additional ornaments in the repeat playing of the two sections. I would suggest listening to some of the many recordings available of this work to decide on how you might play this work. The music editor found that once the piece had been learnt and was played with discipline it became much easier to play the ornaments with the spontaneity and freedom needed that is needed. Attention needs to be paid to the accidentals. It is very easy to play a wrong note. Best advice the playing of an ornament ultimately comes down to personal preference based on knowledge/familiarity of the musical style and works of the composer. Accept the fact that you may well change your opinion on how an ornament is played based on a "gathering information" approach. Ornaments need to be played on a musical basis rather than an academic one where the latter may end up as simply being an interpretation of mis-understood rules. Performance practice adds a complication in that changing times quite often results in different approaches and interpretations. Close
Added: 27th July, 2017 11:07 AM |
Views : 2833
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A familiar AB binary movement Show More...
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A familiar AB binary movement described as a toccata which originally were touch pieces intended to be used to tune the instrument but in time they became formalised into movements aimed at developing keyboard technique. Each part of the AB form is further divided into contrasting sections which need to be exploited tonally in a performance. The realisation is played at a tempo of 88 dotted eighth notes (quaver) to the minute and the movement needs to be played with a sense of one to a bar. The sounds of the guitar are imitated in the rolling chords played by the left hand with intervals of the fourth (as a guitar is tuned) and the repeating notes (tremolo) played by the right hand. Whilst the repetitive element is strong the sonata is imbued with modal shifts and figurations imitating Spanish music. It is essential that the right hand fingers are close to the keys and that the left hand spread chords are played percussively. Some limited use of the sustaining pedal (quick quarter pedalling) to give the left hand chords some extra resonance is recommended although no sustaining pedalling has been added in the realisation. It would be wise to listen to different performances of the sonata to understand the different approaches made by players particularly in respect to the weight applied from the hands and the range of articulations used in expressing the musical content. There is some suggested fingering in the edited music score and the sonata first needs to be practiced at slow speeds to ensure accuracy. The ornamentation is straight forward as is usually the case in fast tempo works one although there are choices in respect to the playing of appoggiaturas at the end of sections. The realisation a little rushed at the end of phrases and sections. In the hands of a gifted musician and artist with exceptional technique this can be an exhilerating and quite mesmerising piece. A plain score is also appended to the edited music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 3017
This is an plain music score in that it has has some score detail to assist players in their performance and practice. A keyboard sonata of great musi Show More...
This is an plain music score in that it has has some score detail to assist players in their performance and practice. A keyboard sonata of great musical beauty and intensity conceived in four parts or voices. Whilst some use of the sustaining pedal is needed pedalling markings have not been indicated in the score. This sonata is excellent for developing the playing technique where a finger is substituted for another one whilst the note is still sounding to obtain the best legato possible. (changing finger on a note technique) A tempo of 84 quarter note (crotchet) beats to the minute is suggested. The second b in the tenor line in bar 1 is not sounded in many performances and in the realisation is represented by a silent note. When a part/voice is not sounding rests are not always written in the score and players need to be aware of this. It is sometimes very easy to have notes lasting than they should be. The combination of sampled sounds and the notation software enables a very consistent sound to be delivered in the realisation. At least there are no ornaments to worry about when playing this sonata! A sustained legato can be achieved with secure and appropriate fingering in place and it would be well worth while spending time pencilling in some options into the score. Always be prepared to edit and update the fingering choices whilst the sonata is being studied. Close
Added: 27th July, 2017 11:07 AM |
Views : 3147
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A reflective keyboard sonata p Show More...
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A reflective keyboard sonata played at a slow tempo and is described as an aria which is a word for song. Understandably the melody needs to be articulated as if it is being sung. The realisation does lack the flexibility of a performance and has the repeats played although it is only in the repeat section that the ornaments are sounded. The music editor suggests adopting a similar approach. The main ornament in the movement is a short trill of 4 short notes beginning on the upper note. The trill symbol has been used at the two main cadential points giving the player scope to increase the number of notes although the trill still begins on the upper note. As a piece with a slow tempo it invites some reinvention in terms of the ornamentation and it would be well worth listening to some of the available recordings to understand how to approach this aspect of a performance. It is a sonata with scope for a performer to improvise. No pedalling has been written into the score although some use of it is recommended. Many performers spread some of the chords in the left hand to imitate the strumming sound a guitar. This choice of playing the chords in this way is left to the discretion of the player. Close
Added: 27th July, 2017 11:07 AM |
Views : 2944
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very pianistic keyboard sona Show More...
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very pianistic keyboard sonata providing excellent opportunities for developing left hand over right hand playing technique. The work has a largely two part texture after short four part passages at the opening of the two sections. A tempo of 110 quarter note (crotchet beats) to the minutes is suggested - it is important that the chosen tempo enables the harmonic direction to be communicated. Fingers need to be kept close to the keys and little use of the sustaining pedal is advised whilst a legato playing approach is needed. There is a also more scope for developing the dynamic range than is presented in the realisation. The first page of edited music score does unfortunately look rather busy.At bar 29 note stems up are played by the right hand and note stems pointing downwards by the left hand. In a performance it it important to give shape to the motives. Close
Added: 27th July, 2017 11:07 AM |
Views : 2590
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very beautiful and appealing Show More...
This is an edited music score in that it has has some score detail to assist players in their performance and practice. A very beautiful and appealing movement to play and one of Domenico Scarlatti's most popular keyboard sonatas. A tempo of 80 dotted quarter note (crotchet) beats to the minute is suggested.A consistent approach in terms of tempo is recommended with possibly a slight slowing down at the approach to the cadences of the two main sections. The ornaments are realised symmetrically in the realisation without the subtlety of a performance where a piano/keyboard/harpsichord player might speed up, slow down or even hesitate during the delivery of a trill. A simple and consistent approach to the playing of ornaments is advised particularly in the early stages of learning and internalising the piece. Whilst in some ways this music has some romantic sounding features remember that it is music from the baroque era and should be approached accordingly. A successful performance of this sonata requires both control and delicacy. Tempo is a performance element that in many historical recordings is approached with a combination of indulgence and inconsistency. In bar 37 and bar 38 the ornaments are best played as acciaccatura. (crushed notes). Playing Tip: If in doubt about an ornament miss it out! Close
Added: 27th July, 2017 11:07 AM |
Views : 2879
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 120 half not Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 120 half note (minim beats) to the minute is recommended for playing this movement. Imitation is a strong feature and a lightness of touch is required in the playing approach dictated essentially by the fast tempo. The music lines are rhythmically quite intricate and there is an additional challenge in achieving a satisfactory dynamic balance between the two hands. Some use of the sustaining is suggested at bar 10 and additionally when there are long bass notes although no pedal markings are indicated in the score. The playing of a rit.(slowing down) at the end of the end of the two sections does not seem appropriate in a performance. The modal shifts that feature in the melody line and the rhythmic detail suggest references to the music of Spain. The challenge in playing this keyboard sonata is to articulate clearly every note clearly at the suggested tempo. Close
Added: 27th July, 2017 11:07 AM |
Views : 3111
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. This is a rather grand Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. This is a rather grand movement featuring strong rhythmic shapes that need to be delivered with clarity of intention and accurate octave playing in the left hand. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. In the performance score 64th notes (hemidemisemiquaver) have been used in the notation of the opening and other quickly played ornaments to give clarity to the score. The opening ornaments are not always played as shown in the performance score. The appoggiaturas as in bar 19 need to be played quickly whilst the ornaments in bar 20 and 21 can be played either as acciaccaturas or appoggiaturas but not a combination of both. The long trill could possibly be longer another beat perhaps? In the early stages of learning this sonata the music editor suggests missing out the ornaments. Attention needs to be paid to the rhythmic detail and a successful performance requires the tonal contrasts of the phrases and sections be exploited. Many performers also experiment with the octave ranges of the piano when performing this sonata. The spacial aspect of the musical content is also something that can be explored both in relationship to the musical ideas between the two hands and also in relation to the character of the acoustic in which the sonata is being performed. Tip: Performance scores are on the busy side - in fact they have much too much information that distracts from the music. However they are a necessary and useful evil - discard them as soon as you are able and use a plain score. Close
Added: 27th July, 2017 11:07 AM |
Views : 2322
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to the perform Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to the performance score is a plain score which is in place for players to use once the movement has been learnt. Look at the piece as the musical equivalent of going to the gym and perhaps play it as the last part of a warm up. Whilst the sonata should be played as fast as possible don't try and play it quickly until you can play it slowly! An even tempo is required and is an essential test of any performance. Whilst this is an excellent piece to encourage fast playing secure right and left hand fingering will need to be in place and have to be perfect! The realisation is 120 quarter note beats to the minute and use of the sustaining pedal is recommended although it is not marked on the score. The music editor suggests that anyone who can the sonata accurately at a tempo of 132 has genuine potential as a performer. The musical material is in itself not difficult: the challenge is simply playing the piece at a tempo that allows the content to come alive. There are some excellent perfomances of this sonata to explore at different tempi. As far as the the music setting is concerned, there are some different options as far as grouping and beaming of the notes. Close
Added: 27th July, 2017 11:07 AM |
Views : 3217
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. One of the most popular Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. One of the most popular of all Scarlatti's keyboard sonatas requiring particular attention to the rhythmic detail especially the dotted notes. A tempo of 92 quarter note or crotchet beats to the minute is suggested which has been used in the realisation. A lightness of touch is essential even in the loud sections and there is scope for players to explore different keyboard touches, legato, staccato and staccatissimo, in arriving at their own interpretation. Remember that the piece originates as a harpsichord movement so it is important to avoid a too heavy handed approach. The playing of trills especially at cadences at the end of the main sections is a subject in itself - the best advice is to play them rhythmically and consistently. Keep them symetrical and rhythmic and play 4 or 8 note patterns. The characteristic open sounding chords arise because the third is often missing while use of sustaining pedal is recommended. This is an excellent piece to develop the performance aspect of an individual's music making in that it is a movement that one can never tire of playing. In setting the music there are different approaches and options that can be made to beaming, the positioning of the treble and bass clefs and the sharing of notes between the hands. This particular sonata is often played on the guitar and the imitation of the strumming of a guitar is something referenced in t patterns of the keyboard movement. Close
Added: 27th July, 2017 11:07 AM |
Views : 3077
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 84 dotted qu Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A tempo of 84 dotted quarter note (crotchet) beats to the minute is recommended and is also used in the realisation. There is opportunity for both staccato and legato playing in what is a relatively short and easy keyboard sonata which is also often played on the guitar. The ornamentation comprises a short 4 note trill with a variant on featuring at the cadences at the close of the A & B sections. The repeat is not played in the realisation. The concise movement features imitative counterpoint. The performance score has suggested fingering notated above and below the notes although the the music editor is keen to hear where fingering is best placed above and below the notes in the treble and bass clefs or actually by the side of the note in the respected staves? Close
Added: 27th July, 2017 11:07 AM |
Views : 2819
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A sonata of contrasting Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. A sonata of contrasting sections and contrasting tempi. It is a binary form sonata (AB) but each of the main sections is divided into sections of contrasting tempo and different musical content. The A section of the sonata opens with a melodic sixteen bars that features imitative counterpoint and a triplet figuration which is a strong feature of the movement as a whole. This is succeeded by a slightly faster section again quite melodic before in turn being followed by 12 bars of fast moving two part part counterpoint. The B section opens with a 20 bars of music in the same tempo which introduces some musical development anticipating some of the features found in theis part of the classical sonata. The shape of the music then returns to the character and format of the opening of the sonata closing with a fast two part section mirroring the closing of the A section. The B section as a whole is longer than the A section so the work does not have the symmetry of many of the keyboard sonatas but it does show the composer expanding or at least experimenting with the formal patterns of his music. A light keyboard touch is required and the sustaining pedal should be used at the ends of the main sections. Right and left hand fingering needs to be secure particularly in the fast sections. Close
Added: 27th July, 2017 11:07 AM |
Views : 2828
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. There are several Scarl Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. There are several Scarlatti keyboard sonatas in which the familiar hunting call motif is heard as in the opening bar of this sonata. The movement needs to be played with a very light touch to ensure that the suggested tempo of 104 dotted quarter note (crotchet) beats to the minute is maintained. In this concentrated and intense movement the repeats are not played in the realisation and the editor suggests that the repeats are only played when the sonata can be played comfortably. The ornamentation in the sonata is fairly straightforward as it tends to be in faster movements with acciaccaturas(crushed notes) and the four note short trill beginning on the upper note featured. However, some attention needs to be given to the choice of accidentals played in the ornaments. Bar 41 is notated using triplets for clarity. A light staccatissimo touch is needed for some of the sections and in the performance score these are all indicated by an appropriate symbol. Close
Added: 27th July, 2017 11:07 AM |
Views : 2300
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to this is a p Show More...
This performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. Appended to this is a plain score which the performer can choose to use once the piece has been studied. This keyboard sonata provides excellent opportunities for developing left hand over right hand playing technique. The work has a largely two part texture after short four part passages at the opening of the two sections. A tempo of 110 quarter note (crotchet beats) to the minutes is suggested - it is important that the chosen tempo enables the harmonic direction to be communicated. Fingers need to be kept close to the keys and little use of the sustaining pedal is advised whilst a legato playing approach is needed. There is also more scope for developing the dynamic range than is presented in the realisation. The first page of edited music score does unfortunately look rather busy. At bar 29 note stems up are played by the right hand and note stems pointing downwards by the left hand. In a performance it it important to give shape to the motives. Close
Added: 27th July, 2017 11:07 AM |
Views : 3289
A keyboard sonata that needs to be played with delicacy and both a lightness and clarity of touch. A tempo of 76 quarter note (crotchet) beats to the Show More...
A keyboard sonata that needs to be played with delicacy and both a lightness and clarity of touch. A tempo of 76 quarter note (crotchet) beats to the minute is recommended - the sonata should not be played too quickly as it loses its intimacy. Legato playing is required and the performance score has detailed suggested right and left hand fingering. The crossing of hands is also a feature requiring attention to the balance of the dynamics. The bar 20 trill has two options written in the score as to how it can be played. Whilst slowing down at the end of the main sections is appropriate this should not be exaggerated or start too soon. Close
Added: 27th July, 2017 11:07 AM |
Views : 3049
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A very beautiful and appealing movement to play and one of Domenico Scarlatti's most popular keyboard sonatas. A tempo of 80 dotted quarter note (crotchet) beats to the minute is suggested. A consistent approach in terms of tempo is recommended with possibly a slight slowing down at the approach to the cadences of the two main sections. The ornaments are realised symmetrically in the realisation without the subtlety of a performance where a piano/keyboard/harpsichord player might speed up, slow down or even hesitate during the delivery of a trill. A simple and consistent approach to the playing of ornaments is advised particularly in the early stages of learning and internalising the piece. Whilst in some ways this music has some romantic sounding features remember that it is music from the baroque era and should be approached accordingly. A successful performance of this sonata requires both control and delicacy. Tempo is a performance element that in many historical recordings is approached with a combination of indulgence and inconsistency. In bar 37 and bar 38 the ornaments are best played as acciaccatura. (crushed notes). Playing Tip: If in doubt about an ornament miss it out! Close
Added: 27th July, 2017 11:07 AM |
Views : 2400
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A keyboard sonata that needs to be played with delicacy and both a lightness and clarity of touch. A tempo of 76 quarter note (crotchet) beats to the minute is recommended - the sonata should not be played too quickly as it loses its intimacy. Legato playing is required and the performance score has detailed suggested right and left hand fingering. The crossing of hands is also a feature requiring attention to the balance of the dynamics. The bar 20 trill has two options written in the score as to how it can be played. Whilst slowing down at the end of the main sections is appropriate this should not be exaggerated or start too soon. Close
Added: 27th July, 2017 11:07 AM |
Views : 2411
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. This is a reflective keyboard sonata played at a slow tempo and is described as an aria which is a word for song. Understandably the melody needs to be articulated as if it is being sung. The realisation does lack the flexibility of a performance and has the repeats played although it is only in the repeat section that the ornaments are sounded. I would suggest in the early stages of learning the piece that a player adopts a similar approach. Understand that the main ornament in the movement is a short trill of 4 short notes beginning on the upper note. The trill symbol has been used at the two main cadential points giving the player scope to increase the number of notes although the trill still begins on the upper note. As a piece with a slow tempo it invites some reinvention in terms of the ornamentation and it would be well worth listening to some of the available recordings to understand how to approach this aspect of a performance. It is a sonata with scope for a performer to improvise. No pedalling has been written into the score although some use of it is recommended. Many performers spread some of the chords in the left hand to imitate the strumming sound a guitar. This choice of playing the chords iin this way is left to the discretion of the player. Close
Added: 27th July, 2017 11:07 AM |
Views : 2542
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A tempo of 84 dotted quarter note (crotchet) beats to the minute is recommended and is also used in the realisation.There is opportunity for both staccato and legato playing in what is a relatively short and easy keyboard sonata which is also often played on the guitar. The ornamentation comprises a short 4 note trill with a variant on featuring at the cadences at the close of the A & B sections. The repeat is not played in the realisation. The concise movement features imitative counterpoint. The performance score has suggested fingering notated above and below the notes although the the music editor is keen to hear where fingering is best placed – above and below the notes in the treble and bass clefs or actually by the side of the note in the respected staves? Close
Added: 27th July, 2017 11:07 AM |
Views : 2524
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what you see is what you hear) version often in a reduced format. The melody of this keyboard sonata needs to be played with clarity and a lightness of touch with little use of the sustaining pedal at a secure and steady tempo. A tempo of 60 quarter note (crotchet) beats to the minute is used in the realisation and the repeats are not played. A slow tempo requires a very concentrated approach but does allow much more freedom in terms of the number of notes that can be played in a trill. In a slow movement it is often easier to play more notes in a trill to keep a more balanced rhythmic shape. The left hand chord on beat 4 of bar 13 could be spread although this is not marked in the score. The scores presented by many publishers are actually quite inaccurate particularly in respect to the rhythmic detail at the approaches to the important cadence points. There is the option of considering different and additional ornaments in the repeat playing of the two sections. I would suggest listening to some of the many recordings available of this work to decide on how you might play this work. The music editor found that once the piece had been learnt and was played with discipline it became much easier to play the ornaments with the spontaneity and freedom needed that is needed. Attention needs to be paid to the accidentals. It is very easy to play a wrong note. Best advice the playing of an ornament ultimately comes down to personal preference based on knowledge/familiarity of the musical style and works of the composer. Accept the fact that you may well change your opinion on how an ornament is played based on a “gathering information†approach. Ornaments need to be played on a musical basis rather than an academic one where the latter may end up as simply being an interpretation of mis-understood rules. Performance practice adds a complication in that changing times quite often results in different approaches and interpretations. Close
Added: 27th July, 2017 11:07 AM |
Views : 2482
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It's simply a WYSIWYH (what you see is what you hear) version often in a reduced format. One of Scarlatti's easier keyboard sonatas but nevertheless one that offers plenty of musical and interpretative challenges to the player. It is essentially a two part movement. A tempo of 90 half note beats to the minute is used in the realisation with the repeats not being played. This music needs to be played rhythmically with energy and little use of the sustaining pedal although it can be used in the closing bars of the A and B sections. This is an excellent movement for developing a skill set in terms of being able to articulate the playing of a melody line with a range of articulations - legato, staccato, tenuto etc. Whilst many performers rit. (slow down) at the end of the A and B sections even though they are then repeated the music editor doesn't recommend this . This sonata like many other Scarlatti works is excellent for developing interpretative skills and performance experience. Varying and adding to the ornamentation in the repeats is an option. Many very competent pianists play this relatively easy sonata and some performers add quite a deal of additional music to the to the texture which is not always in keeping with the style and simplicity of the piece. Nevertheless, it does educate modern players in being aware that in Scarlatti's time improvisation was a relevant aspect of performance practice. Close
Added: 27th July, 2017 11:07 AM |
Views : 2583
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often presented in a reduced format. This is on of the most popular of all Scarlatti's keyboard sonatas requiring particular attention to the rhythmic detail especially the dotted notes. A tempo of 92 quarter note or crotchet beats to the minute is suggested and this has been used in the realisation. A lightness of touch is essential even in the loud sections and there is scope for players to explore different keyboard touches, legato, staccato and staccatissimo, in arriving at their own interpretation. Remember that the piece originates as a harpsichord movement so it is important to avoid a too heavy handed approach. The playing of trills especially at cadences at the end of the main sections is a subject in itself - the best advice is to play them rhythmically and consistently. Keep them symmetrical and rhythmic and play 4 or 8 note patterns. The characteristic open sounding chords arise because the third is often missing while use of sustaining pedal is recommended. This is an excellent piece to develop the performance aspect of an individual's music making in that it is a movement that one can never tire of playing. In setting the music there are different approaches and options that can be made to beaming, the positioning of the treble and bass clefs and the sharing of notes between the hands. This particular sonata is often played on the guitar and the imitation of the strumming of a guitar is something referenced in the patterns of the keyboard writing. Close
Added: 27th July, 2017 11:07 AM |
Views : 2893
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A tempo of 48 half notes (minim) beats to the minute is suggested. As a slow movement there are many interpretations as to how the ornaments are played and the music editor suggests that it would be worthwhile to spend some time listening to recordings of this sonata. Please observe that only the first two notes of four note ornaments have the fingering notated. Remember that the trill and the mordent sign mean essentially the same – if the ornament is cadential then it is likely and possible to have more notes with the tr sign is used.There is also scope for the confident player to add aditional ornaments particularly in the playing of the repeats. There are other solutions to playing the ornaments but the ones suggested here keep very much to contemporary performance practice. Appoggiaturas (leaning notes) and acciaccaturas (crushed notes) in slow tempo works do presents a challenge as far as the interpretation and function. Music editors do tend to show evidence of an “over†understanding the interpretation of the ornaments. The best advice is to keep it simple, familiar and current – interpret the best of modern performance practice.The realisation is limited in respect to its interpretation of the score and the repeats are not played. Not too much use sustaining pedal is recommended and a rit. (slowing down) at the end of the two main sections is appropriate. The triplet motive introduced in bar 9 is indicated in the score for a couple of bars and then the symbol is omitted as is the case is conventional music setting. The music in this keyboard sonata possesses beauty and presence and the work should be played with delicacy and clarity. The interpretative qualities of a performance need to perhaps demonstrate more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections. Close
Added: 27th July, 2017 11:07 AM |
Views : 2840
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is intended as guide for Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is intended as guide for those preparing their own music scores in a digital format. Teachers might also find these scores useful in preparing work tasks for their students based on the plain scores. A realisation score is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A tempo of 48 half notes (minim) beats to the minute is suggested. As a slow movement there are many interpretations as to how the ornaments are played and the music editor suggests that it would be worthwhile to spend some time listening to recordings of this sonata. Observe that only the first two notes of four note ornaments have the fingering notated. Remember that the trill and the mordent sign mean essentially the same whilst if the ornament is cadential then it is likely and possible to have more notes with the tr sign used. There is also scope for the confident player to add additional ornaments particularly in the playing of the repeats. There are other solutions to playing the ornaments but the ones suggested here keep very much to contemporary performance practice. Appoggiaturas (leaning notes) and acciaccaturas (crushed notes) in slow tempo works do presents a challenge as far as the interpretation and function. Music editors do tend to show evidence of an over understanding the interpretation of the ornaments. The best advice is to keep it simple, familiar and current interpreting the best of modern performance practice.The realisation is limited in respect to its interpretation of the score and the repeats are not played. Not too much use sustaining pedal is recommended and a rit. (slowing down) at the end of the two main sections is appropriate. The triplet motive introduced in bar 9 is indicated in the score for a couple of bars and then the symbol is omitted as is the case is conventional music setting. The music in this keyboard sonata possesses beauty and presence and the work should be played with delicacy and clarity. The interpretative qualities of a performance need to perhaps demonstrate more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections. Close
Added: 27th July, 2017 11:07 AM |
Views : 2700
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wh Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often presented in a reduced format. They are available to assist those in preparing music in digital format and teachers might find them useful to prepare questions based on a plain score. This is a rather grand movement featuring strong rhythmic shapes that need to be delivered with clarity of intention and accuracy in the left hand octave playing. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. In the performance score 64th notes (hemidemisemiquaver) have been used in the notation of the opening to give clarity to the rhythmic patterns. The opening ornament is not always played as shown in the performance score. The appoggiaturas as in bar 19 need to be played quickly whilst the ornaments in bar 20 and 21 can be played either as acciaccaturas or appoggiaturas but not a combination of both. The long trill could possibly be longer possibly by another beat perhaps? In the early stages of learning this sonata the music editor suggests missing out the ornaments. Attention needs to be paid to the rhythmic detail and a successful performance requires the tonal contrasts of the phrases and sections to be exploited. Many performers also experiment with the octave ranges of the piano when performing this sonata. The spacial aspect of the musical content is also something that can be explored both in relationship to the musical ideas between the two hands and also in relation to the acoustic of the building in which the sonata is being performed. Tip: Performance scores are on the busy side having much too much information that distracts from the music however they are a necessary and useful evil - discard them as soon as you are able and use a plain score. Close
Added: 27th July, 2017 11:07 AM |
Views : 2743
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (wha Show More...
The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. The sonata needs to be played with a one in a bar feel. A tempo of 96 dotted quarter notes (crotchets) is used in the realisation. Ornaments need to have a clear rhythmic shape with the main ornament being the 4 note mordent beginning on the upper note. There is no consistency amongst performers in terms of when and how the ornaments are played in many of Scarlatti sonatas and the same is true of this one. The additional ornaments that features in the inner parts of bars 97, 101, 105, 108, 112 and 116 maybe omitted particularly when learning the sonata. It is probably best to avoid playing the repeats when learning this piece and many Scarlatti sonatas are in fact performed without all the repeats being played. Changing the finger used on a repeating note is a technique that can be applied in the left hand. A very light touch is required to play the movement at a tempo which allows the intensity of the music to come alive. There are times when the left hand is playing staccato and the right hand legato and other times when both hands are playing staccato. Whilst texturally quite straight forward this is a demanding sonata to play requiring a secure technique, control with the fingers close to the keys. Close
Added: 27th July, 2017 11:07 AM |
Views : 2419
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. The melody of th Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. The melody of this keyboard sonata needs to be played with clarity and a lightness of touch with little use of the sustaining pedal at a secure and steady tempo. A tempo of 60 quarter note (crotchet) beats to the minute is used in the realisation and the repeats are not played. A slow tempo requires a very concentrated approach but does allow much more freedom in terms of the number of notes that can be played in a trill. In a slow movement it is often easier to play more notes in a trill to keep a more balanced rhythmic shape. The left hand chord on beat 4 of bar 13 could be spread although this is not marked in the score. The scores presented by many publishers are actually quite inaccurate particularly in respect to the rhythmic detail at the approaches to the important cadence points. There is the option of considering different and additional ornaments in the repeat playing of the two sections. I would suggest listening to some of the many recordings available of this work to decide on how you might play this work. The music editor found that once the piece had been learnt and was played with discipline it became much easier to play the ornaments with the spontaneity and freedom needed that is needed. Attention needs to be paid to the accidentals. It is very easy to play a wrong note. Best advice the playing of an ornament ultimately comes down to personal preference based on knowledge/familiarity of the musical style and works of the composer. Accept the fact that you may well change your opinion on how an ornament is played based on a "gathering information" approach. Ornaments need to be played on a musical basis rather than an academic one where the latter may end up as simply being an interpretation of mis-understood rules. Performance practice adds a complication in that changing times quite often results in different approaches and interpretations. Close
Added: 27th July, 2017 11:07 AM |
Views : 2409
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 120 h Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 120 half note (minim beats) to the minute is recommended for playing this movement. Imitation is a strong feature and a lightness of touch is required in the playing approach dictated essentially by the fast tempo. The music lines are rhythmically quite intricate and there is an additional challenge in achieving a satisfactory dynamic balance between the two hands. Some use of the sustaining is suggested at bar 10 and additionally when there are long bass notes although no pedal markings are indicated in the score. The playing of a rit.(slowing down) at the end of the end of the two sections does not seem appropriate in a performance. The modal shifts that feature in the melody line and the rhythmic detail suggests references to the music of Spain. The challenge in playing this keyboard sonata is to articulate every note clearly at the suggested tempo. Close
Added: 27th July, 2017 11:07 AM |
Views : 3508
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. The sonata needs Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. The sonata needs to be played with a one in a bar feel. A tempo of 96 dotted quarter notes (crotchets) is used in the realisation. Ornaments need to have a clear rhythmic shape with the main ornament being the 4 note mordent beginning on the upper note. There is no consistency amongst performers in terms of when and how the ornaments are played in many of Scarlatti sonatas and the same is true of this one. The additional ornaments that features in the inner parts of bars 97, 101, 105, 108, 112 and 116 maybe omitted particularly when learning the sonata. It is probably best to avoid playing the repeats when learning this piece and many Scarlatti sonatas are in fact performed without all the repeats being played. Changing the finger used on a repeating note is a technique that can be applied in the left hand. A very light touch is required to play the movement at a tempo which allows the intensity of the music to come alive. There are times when the left hand is playing staccato and the right hand legato and other times when both hands are playing staccato. Whilst texturally quite straight forward this is a demanding sonata to play requiring a secure technique, control with the fingers close to the keys. Close
Added: 27th July, 2017 11:07 AM |
Views : 2406
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. This is a rather Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. This is a rather grand movement featuring strong rhythmic shapes that need to be delivered with clarity of intention and accurate octave playing in the left hand. A tempo of 96 quarter note (crotchet) beats to the minute is suggested. In the performance score 64th notes (hemidemisemiquaver) have been used in the notation of the opening and other ornaments to give more clarity about the rhythmic shapes. The opening ornament is not always played as shown in the performance score. The appoggiaturas as in bar 19 need to be played quickly whilst the ornaments in bar 20 and 21 can be played either as acciaccaturas or appoggiaturas but not a combination of both. The long trill could possibly be longer possibly by another beat perhaps? In the early stages of learning this sonata the music editor suggests missing out the ornaments. Attention needs to be paid to the rhythmic detail and a successful performance requires the tonal contrasts of the phrases and sections be exploited. Many performers also experiment with the octave ranges of the piano when performing this sonata. The spacial aspect of the musical content is also something that can be explored both in relationship to the musical ideas between the two hands and also in relation to the acoustic in which the sonata is being performed. Tip: Performance scores are on the busy side in having much too much information that distracts from the music. They are a necessary and useful evil - discard them as soon as you are able and use a plain score. Close
Added: 27th July, 2017 11:07 AM |
Views : 2693
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 48 ha Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 48 half notes (minim) beats to the minute is suggested. As a slow movement there are many interpretations as to how the ornaments are played and the music editor suggests that it would be worthwhile to spend some time listening to recordings of this sonata. Remember that the trill and the mordent sign mean essentially the same. If the ornament is cadential then it is likely and possible to have more notes with the tr sign in use. There is also scope for the confident player to add additional ornaments particularly in the playing of the repeats. There are other solutions to playing the ornaments but the ones suggested here keep very much to contemporary performance practice. Appoggiaturas (leaning notes) and acciaccaturas (crushed notes) in slow tempo works do presents a challenge as far as the interpretation and function. Music editors do tend to show evidence of an over understanding the interpretation of the ornaments. The best advice is to keep it simple, familiar and current. The realisation is limited in respect to its interpretation of the score and the repeats are not played. Not too much use sustaining pedal is recommended and a rit. (slowing down) at the end of the two main sections is appropriate. The triplet motive introduced in bar 9 is indicated in the score for a couple of bars and then the symbol is omitted as is the case is conventional music setting. The music in this keyboard sonata possesses beauty and presence and the work should be played with delicacy and clarity. The interpretative qualities of a performance need to perhaps be more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections. Close
Added: 27th July, 2017 11:07 AM |
Views : 2782
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A very appealing Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A very appealing keyboard sonata although there are surprisingly not many recordings of the sonata available. Whilst the composers style is in evidence it is also a work in which a variety of moods are explored. A tempo of 96 half note (mimim) beats to the minute is suggested and used in the realisation.
It is a sonata allowing the player to explore options in legato and staccato keyboard articulations. Interestingly there are interpretations in which the performers improvise around the shapes offering rhythmic variants and something more than just additional ornaments. In the ornamentation particularly at cadences there is a script but there is a tendency for some performers to become very individual and possibly rather extreme! Close
Added: 27th July, 2017 11:07 AM |
Views : 2972
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. Look at the piec Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. Look at the piece as the musical equivalent of going to the gym and perhaps play it as the last part of a warm up. Whilst the sonata should be played as fast as possible don't try and play it quickly until you can play it slowly! An even tempo is required and is an essential test of any performance. Whilst this is an excellent piece to encourage fast playing secure right and left hand fingering will need to be in place and have to be perfect! The realisation is 120 quarter note beats to the minute and use of the sustaining pedal is recommended although it is not marked on the score. I would suggest anyone who can the sonata accurately at a tempo of 132 has genuine potential as a performer. The musical material is in itself not difficult: the challenge is simply playing the piece at a tempo that allows the content to come alive. There are some excellent perfomances of this sonata to explore at different tempi. As far as the the music setting is concerned, there are some different options as far as grouping and beaming of the notes. Close
Added: 27th July, 2017 11:07 AM |
Views : 2508
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. One of the most Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. One of the most popular of all Scarlatti's keyboard sonatas requiring particular attention to the rhythmic detail especially the dotted notes. A tempo of 92 quarter note or crotchet beats to the minute is suggested whilst the realisation plays at this tempo. A lightness of touch is essential even in the loud sections and there is scope for players to explore different keyboard touches, legato, staccato and staccatissimo, in arriving at their own interpretation. Remember that the piece originates as a harpsichord movement so it is important to avoid a too heavy handed approach. The playing of trills especially at cadences at the end of the main sections is a subject in itself - the best advice is to play them rhythmically and consistently. Keep them symmetrical and rhythmic and play 4 or 8 note patterns. The characteristic open sounding chords arise because the third is often missing while use of sustaining pedal is recommended. This is an excellent piece to develop the performance aspect of an individual's music making in that it is a movement that one can never tire of playing. In setting the music there are different approaches and options that can be made to beaming, the positioning of the treble and bass clefs and the sharing of notes between the hands. This particular sonata is often played on the guitar and the imitation of the strumming of a guitar is something referenced in the patterns of the keyboard writing.. Close
Added: 27th July, 2017 11:07 AM |
Views : 3091
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. One of Scarlatti Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. One of Scarlatti's easier keyboard sonatas but nevertheless one that offers plenty of musical and interpretative challenges to the player. It is essentially a two part movement. A tempo of 90 half note beats to the minute is used in the realisation with the repeats not being played. This music needs to be played rhythmically with energy and little use of the sustaining pedal although it can be used in the closing bars of the A and B sections. This is an excellent movement for developing a skill set in terms of being able to articulate the playing of a melody line with a range of articulations - legato, staccato, tenuto etc. Whilst many performers rit. (slow down) at the end of the A and B sections even though they are then repeated the music editor doesn't recommend this . This sonata like many other Scarlatti works is excellent for developing interpretative skills and performance experience. Varying and adding to the ornamentation in the repeats is an option. Many very competent pianists play this relatively easy sonata and some performers add quite a deal of additional music to the to the texture which is not always in keeping with the style and simplicity of the piece. Nevertheless, it does educate modern players in being aware that in Scarlatti's time improvisation was a relevant aspect of performance practice. Close
Added: 27th July, 2017 11:07 AM |
Views : 2705
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 84 do Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A tempo of 84 dotted quarter note (crotchet) beats to the minute is recommended and is also used in the realisation.There is opportunity for both staccato and legato playing in what is a relatively short and easy keyboard sonata which is also often played on the guitar. The ornamentation comprises a short 4 note trill with a variant on featuring at the cadences at the close of the A & B sections. The repeat is not played in the realisation. The concise movement features imitative counterpoint. The performance score has suggested fingering notated above and below the notes although the the music editor is keen to hear where fingering is best placed – above and below the notes in the treble and bass clefs or actually by the side of the note in the respected staves? Close
Added: 27th July, 2017 11:07 AM |
Views : 2445
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A sonata of cont Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A sonata of contrasting sections and contrasting tempi. It is a binary form sonata (AB) but each of the main sections is divided into sections of contrasting tempo and different musical content. The A section of the sonata opens with a melodic sixteen bars that features imitative counterpoint and a triplet figuration which is a strong feature of the movement as a whole. This is succeeded by a slightly faster section again quite melodic before in turn being followed by 12 bars of fast moving two part part counterpoint. The B section opens with a 20 bars of music in the same tempo which introduces some musical development anticipating some of the features found in theis part of the classical sonata. The shape of the music then returns to the character and format of the opening of the sonata closing with a fast two part section mirroring the closing of the A section. The B section as a whole is longer than the A section so the work does not have the symmetry of many of the keyboard sonatas but it does show the composer expanding or at least experimenting with the formal patterns of his music. A light keyboard touch is required and the sustaining pedal should be used at the ends of the main sections. Right and left hand fingering needs to be secure particularly in the fast sections. Close
Added: 27th July, 2017 11:07 AM |
Views : 2757
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. There are severa Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. There are several Scarlatti keyboard sonatas in which the familiar hunting call motif is heard as in the opening bar of this sonata. The movement needs to be played with a very light touch to ensure that the suggested tempo of 104 dotted quarter note (crotchet) beats to the minute is maintained. In this concentrated and intense movement the repeats are not played in the realisation and the editor suggests that the repeats are only played when the sonata can be played comfortably. The ornamentation in the sonata is fairly straightforward as it tends to be in faster movements with acciaccaturas (crushed notes) and the four note short trill beginning on the upper note featured. However, some attention needs to be given to the choice of accidentals played in the ornamentas. Bar 41 is notated using triplets for clarity. A light staccatissimo touch is needed for some of the sections and in the performance score these are all indicated by appropriate symbols. Close
Added: 27th July, 2017 11:07 AM |
Views : 2822
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A familiar AB bi Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A familiar AB binary movement described as a toccata which originally intended as tuning pieces although in time they became formalised into movements aimed at developing keyboard technique. Each part of the AB form is further divided into contrasting sections which need to be exploited tonally in a performance. The realisation is played at a tempo of 88 dotted eighth notes (quaver) to the minute and the movement needs to be played with a sense of one to a bar. The sounds of the guitar are imitated in the rolling chords played by the left hand with intervals of the fourth (as a guitar is tuned) and the repeating notes (tremolo) played by the right hand. Whilst the repetitive element is strong the sonata is imbued with modal shifts and figurations imitating Spanish music. It is essential that the right hand fingers are close to the keys and that the left hand spread chords are played percussively. Some limited use of the sustaining pedal (quick quarter pedalling ) to give the left hand chords some extra resonance is recommended although no sustaining pedalling has been added in the realisation. It would be wise to listen to different performances of the sonata to understand the different approaches made by players particularly in respect to the weight applied from the hands and the range of articulations used in expressing the musical content. There is some suggested fingering in the edited music score and the sonata first needs to be practiced at slow speeds to ensure accuracy. The ornamentation is straight forward as is usually the case in fast tempo works one although there are choices in respect to the playing of appoggiaturas at the end of sections. The realisation a little rushed at the end of phrases and sections. In the hands of a gifted musician and artist with exceptional technique this can be an exhilerating and quite mesmerising piece. Close
Added: 27th July, 2017 11:07 AM |
Views : 3059
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A keyboard sonat Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A keyboard sonata of great musical beauty and intensity conceived in four parts or voices. Whilst some use of the sustaining pedal is needed pedalling markings have not been indicated in the score. This sonata is excellent for developing the playing technique where a finger is substituted for another one whilst the note is still sounding to obtain the best legato possible. (changing finger on a note technique) A tempo of 84 quarter note (crotchet) beats to the minute is suggested. The second b in the tenor line in bar 1 is not sounded in many performances and in the realisation is represented by a silent note. When a part/voice is not sounding rests are not always written in the score and players need to be aware of this. It is sometimes very easy to have notes lasting than they should be. The combination of sampled sounds and the notation software enables a very consistent sound to be delivered in the realisation. At least there are no ornaments to worry about when playing this sonata! A sustained legato can be achieved with secure and appropriate fingering in place and it would be well worth while spending time pencilling in some options into the score. Always be prepared to edit and update the fingering choices whilst the sonata is being studied. Close
Added: 27th July, 2017 11:07 AM |
Views : 2398
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. This is a reflec Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. This is a reflective keyboard sonata played at a slow tempo and is described as an aria which is a word for song. Understandably the melody needs to be articulated as if it is being sung. The realisation does lack the flexibility of a performance and has the repeats played although it is only in the repeat section that the ornaments are sounded. I would suggest in the early stages of learning the piece that a player adopts a similar approach. Understand that the main ornament in the movement is a short trill of 4 short notes beginning on the upper note. The trill symbol has been used at the two main cadential points giving the player scope to increase the number of notes although the trill still begins on the upper note. As a piece with a slow tempo it invites some reinvention in terms of the ornamentation and it would be well worth listening to some of the available recordings to understand how to approach this aspect of a performance. It is a sonata with scope for a performer to improvise. No pedalling has been written into the score although some use of it is recommended. Many performers spread some of the chords in the left hand to imitate the strumming sound a guitar. This choice of playing the chords iin this way is left to the discretion of the player. Close
Added: 27th July, 2017 11:07 AM |
Views : 2566
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A very pianistic Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. A very pianistic keyboard sonata providing excellent opportunities for developing left hand over right hand playing technique. The work has a largely two part texture after short four part passages at the opening of the two sections. A tempo of 110 quarter note (crotchet beats) to the minutes is suggested – it is important that the chosen tempo enables the harmonic direction to be communicated. Fingers need to be kept close to the keys and little use of the sustaining pedal is advised whilst a legato playing approach is needed. There is a also more scope for developing the dynamic range than is presented in the realisation. The first page of edited music score does unfortunately look rather on the busy side. At bar 29 note stems up are played by the right hand and note stems pointing downwards by the left hand. In a performance it it important to give shape to the motives. Close
Added: 27th July, 2017 11:07 AM |
Views : 2808
This is a plain score version in that it has minimal score detail characteristic of music printed from this era. A keyboard sonata that needs to be pl Show More...
This is a plain score version in that it has minimal score detail characteristic of music printed from this era. A keyboard sonata that needs to be played with delicacy and both a lightness and clarity of touch. A tempo of 76 quarter note (crotchet) beats to the minute is recommended - the sonata should not be played too quickly as it loses its intimacy. Legato playing is required and the performance score has detailed suggested right and left hand fingering. The crossing of hands is also a feature requiring attention to the balance of the dynamics. The bar 20 trill has two options written in the score as to how it can be played. Whilst slowing down at the end of the main sections is appropriate this should not be exaggerated or start too soon. Close
Added: 27th July, 2017 11:07 AM |
Views : 2477
This is a plain score version in that it has minimal detail which is characteristic of music printed from this era. A very beautiful and appealing mo Show More...
This is a plain score version in that it has minimal detail which is characteristic of music printed from this era. A very beautiful and appealing movement to play and one of Domenico Scarlatti’s most popular keyboard sonatas. A tempo of 80 dotted quarter note (crotchet) beats to the minute is suggested.A consistent approach in terms of tempo is recommended with possibly a slight slowing down at the approach to the cadences of the two main sections. The ornaments are realised symmetrically in the realisation without the subtlety of a performance where a piano/keyboard/harpsichord player might speed up, slow down or even hesitate during the delivery of a trill. A simple and consistent approach to the playing of ornaments is advised particularly in the early stages of learning and internalising the piece. Whilst in some ways this music has some romantic sounding features remember that it is music from the baroque era and should be approached accordingly. A successful performance of this sonata requires both control and delicacy. Tempo is a performance element that in many historical recordings is approached with a combination of indulgence and inconsistency. In bar 37 and bar 38 the ornaments are best played as acciaccatura. (crushed notes). Playing Tip: If in doubt about an ornament miss it out! Close
Added: 27th July, 2017 11:07 AM |
Views : 2755
This is a plain score version in that it has minimal score detail chararcteristic of scores from this period in music history. A two part (AB) movemen Show More...
This is a plain score version in that it has minimal score detail chararcteristic of scores from this period in music history. A two part (AB) movement with essentially a two part texture. The imitatative counterpoint that features in this movement demands a combination of accuracy with a lightness of touch. A tempo of 110 quarter note (crotchet beats) to the minute is suggested and used in the realisation although the repeats are not played.
A light staccatissimo touch is suggested and there should be minimal use of the sustaining pedal.
Staccatissimo playing on the piano is a technique whereby the fingers imitate a plucking approach to the playing of the keys. Staccatissimo notes when they are played are indicated throughout the score. It is important that the left hand is held above the right hand in bars 7/8, bar 11 and bar 17 to enable the notes to be correctly articulated. Ornaments start on the upper note and in fast tempo works are best played simply and rhythmically. The Bar 3 ornament can be 4 or 8 notes – I would suggest starting with 4. There is great symmetry in the Scarlatti keyboard sonatas and formally they are very balanced works. Ornamentation should in the editor’s view reflect these characteristics.
Playing Tip: If your fingers don’t have time to play the ornaments when learning the piece leave them out and add them at a later stage. Close
Added: 27th July, 2017 11:07 AM |
Views : 2593
The performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. The ornaments as played Show More...
The performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. The ornaments as played in the realisation are also written out in full. A two part (AB) movement with essentially a two part texture. The imitatative counterpoint that features in this movement demands a combination of accuracy with a lightness of touch. A tempo of 110 quarter note (crotchet beats) to the minute is suggested and used in the realisation although the repeats are not played. A light staccatissimo touch is suggested and there should be minimal use of the sustaining pedal. Staccatissimo playing on the piano is a technique whereby the fingers imitate a plucking approach to the playing of the keys. Staccatissimo notes when they are played are indicated throughout the score. It is important that the left hand is held above the right hand in bars 7/8, bar 11 and bar 17 to enable the notes to be correctly articulated. Ornaments start on the upper note and in fast tempo works are best played simply and rhythmically. The Bar 3 ornament can be 4 or 8 notes - the music editor suggests starting with 4. There is great symmetry in the Scarlatti keyboard sonatas and formally they are very balanced works. Ornamentation should in the editor's view reflect these characteristics. Playing Tip: If your fingers don't have time to play the ornaments when learning the piece leave them out and add them at a later stage. Close
Added: 27th July, 2017 11:07 AM |
Views : 3172
This is an edited music score in that it has some score detail to assist players in performing the sonata. It is very easy to be tempted to play this Show More...
This is an edited music score in that it has some score detail to assist players in performing the sonata. It is very easy to be tempted to play this keyboard sonata too heavily - remember that the music of Scarlatti originates on the harpsichord which requires a lighter touch than the piano. To perform this sonata it is important to understand both the texture and voicing. There are four lines or voices and each needs to be articulated with sensitivity and awareness of the others. Whilst all the lines are important the top line is the one that will most impress on the listener. Understand that when a particular voice is not sounding rests may or may not be written in the score. In a performance of this sonata careful attention also needs to be paid to the reading and playing of the tied notes. A tempo of 60 quarter note beats to the minute is suggested and from the playing point of view it is an excellent piece for developing changing the finger on a note technique which is necessary to achieve a legato particularly in the top line. The right hand is required to play some notes written in the bass clef particularly towards the end of the first section although players should be able to work out the suggestions with the bracket signs and indicated fingering.
Remember: In music of the baroque period once the rhythmic pattern of the opening bars has been established it is generally maintained throughout the movement. A dot after a note can mean slightly different things rhythmically in different musical styles. Playing Tip: Understand the musical texture that you are playing. Close
Added: 27th July, 2017 11:07 AM |
Views : 2524
This is a plain score version in that it has minimal score detail characteristic of scores from this period in music history. It is very easy to be te Show More...
This is a plain score version in that it has minimal score detail characteristic of scores from this period in music history. It is very easy to be tempted to play this keyboard sonata too heavily - remember that Scarlatti's music originates on the harpsichord which requires a lighter touch than the piano. To perform this sonata it is important to understand both the texture and voicing. There are four lines or voices and each needs to be articulated with sensitivity and awareness of the others. Whilst all the lines are important the top line is the one that will most impress on the listener. Understand that when a particular voice is not sounding rests may or may not be written in the score. In a performance of this sonata careful attention also needs to be paid to the reading and playing of the tied notes. A tempo of 60 quarter note beats to the minute is suggested and from the playing point of view it is an excellent piece for developing changing the finger on a note technique which is necessary to achieve a legato particularly in the top line. The right hand is required to play some notes written in the bass clef particularly towards the end of the first section although players should be able to work out the suggestions with the bracket signs and indicated fingering. Remember: In music of the baroque period once the rhythmic pattern of the opening bars has been established it is generally maintained throughout the movement. A dot after a note can mean slightly different things rhythmically in different musical styles.
Playing Tip: Understand the musical texture that you are playing Close
Added: 27th July, 2017 11:07 AM |
Views : 2428
The performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. It is very easy to be te Show More...
The performance score has score detail including dynamics, articulation markings and suggested right and left hand fingering. It is very easy to be tempted to play this keyboard sonata too heavily - remember that Scarlatti's music originates on the harpsichord which requires a lighter touch than the piano. To perform this sonata it is important to understand both the texture and voicing. There are four lines or voices and each needs to be articulated with sensitivity and awareness of the others. Whilst all the lines are important the top line is the one that will most impress on the listener. Understand that when a particular voice is not sounding rests may or may not be written in the score. In a performance of this sonata careful attention also needs to be paid to the reading and playing of the tied notes. A tempo of 60 quarter note beats to the minute is suggested and from the playing point of view it is an excellent piece for developing changing the finger on a note technique which is necessary to achieve a legato particularly in the top line. The right hand is required to play some notes written in the bass clef particularly towards the end of the first section although players should be able to work out the suggestions with the bracket signs and indicated fingering. Remember: In music of the baroque period once the rhythmic pattern of the opening bars has been established it is generally maintained throughout the movement. A dot after a note can mean slightly different things rhythmically in different musical styles.
Playing Tip: Understand the musical texture that you are playing Close
Added: 27th July, 2017 11:07 AM |
Views : 2839
