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Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s orig Read More...
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The rhythmic detail requires some attention particularly with the tied notes across the bar line creating what are syncopated patterns. Pianists may well make of use the sustaining pedal, particularly in the section from bar 25, although its use is not indicated in the sheet in the sheet music score. There are some octave transpositions in the oboe part to keep to the instrument’s range.
The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range.
In the video score, which can be found by clicking the YouTube link on the home page the ornaments have been written out to add clarity to what often is an ambiguous area. The PlentyMusic solution is not intended to be prescriptive but the suggestions are based on the best of current performance practice. The ornaments can be omitted and this is probably sensible when the movement is first being studied. Accompaniments are available from the PlentyMusic website in mp3 format that enable the violin player to explore the movement as an ensemble piece. Recorded at 256kbps quality they playback at 64, 68, 72, 76 and 80 quarter note beats to the minute. Schumann’s 6 Studies in Canon Opus 56 exist in several arrangements for many different instrument combinations and are well worth exploring particular as an introduction to chamber music playing. Close
Added: 11th May, 2021 11:05 AM |
Views : 16 |
Downloads : 0
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s ori Read More...
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range. In the video score, which can be found by clicking the YouTube link on the PlentyMusic home page, the ornaments have been written out to add clarity to what often is an ambiguous area. The PlentyMusic solution is not intended to be prescriptive but the suggestions are based on the best of current performance practice. The ornaments can be omitted and this is probably sensible when the movement is first being studied. The rhythmic detail requires some attention particularly with the tied notes across the bar line creating what are syncopated patterns. Pianists may well make of use the sustaining pedal, particularly in the section from bar 25, although its use is not indicated in the sheet music score. Accompaniments are available from the PlentyMusic website in mp3 format that enable the oboe player to explore the movement as an ensemble piece. Recorded at 256kbps quality they playback at 64, 68, 72, 76 and 80 quarter note beats to the minute. Schumann’s 6 Studies in Canon Opus 56 exist in several arrangements for many different instrument combinations and are well worth exploring particular as an introduction to chamber music playing. Close
Added: 11th May, 2021 11:05 AM |
Views : 11 |
Downloads : 0
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s ori Read More...
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The rhythmic detail requires some attention particularly with the tied notes across the bar line creating what are syncopated patterns. Pianists may well make of use the sustaining pedal, particularly in the section from bar 25, although its use is not indicated in the sheet in the sheet music score. There are some octave transpositions in the oboe part to keep to the instrument’s range.
The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range. Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range. In the video score, which can be found by clicking the YouTube link on the PlentyMusic home page, the ornaments have been written out to add clarity to what often is an ambiguous area. The PlentyMusic solution is not intended to be prescriptive but the suggestions are based on the best of current performance practice. The ornaments can be omitted and this is probably sensible when the movement is first being studied. The rhythmic detail requires some attention particularly with the tied notes across the bar line creating what are syncopated patterns. Pianists may well make of use the sustaining pedal, particularly in the section from bar 25, although its use is not indicated in the sheet music score. Accompaniments are available from the PlentyMusic website in mp3 format that enable the oboe player to explore the movement as an ensemble piece. Recorded at 256kbps quality they playback at 64, 68, 72, 76 and 80 quarter note beats to the minute. Schumann’s 6 Studies in Canon Opus 56 exist in several arrangements for many different instrument combinations and are well worth exploring particular as an introduction to chamber music playing. The ornaments can be omitted and this is probably sensible when the movement is first being studied. Accompaniments are available from the PlentyMusic website in mp3 format that enable the oboe player to explore the movement as an ensemble piece. Recorded at 256kbps quality they playback at 64, 68, 72, 76 and 80 quarter note beats to the minute. Schumann’s 6 Studies in Canon Opus 56 exist in several arrangements for many different instrument combinations and are well worth exploring particular as an introduction to chamber music playing. Close
Added: 11th May, 2021 10:05 AM |
Views : 16 |
Downloads : 0
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s orig Read More...
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range. In the video score, which can be found by clicking the YouTube link on the PlentyMusic home page, the ornaments have been written out to add clarity to what often is an ambiguous area. The PlentyMusic solution is not intended to be prescriptive but the suggestions are based on the best of current performance practice. The ornaments can be omitted and this is probably sensible when the movement is first being studied. Accompaniments are available from the PlentyMusic website in mp3 format that enable the clarinet in A player to explore the movement as an ensemble piece. Recorded at 256kbps quality they play back at 64, 68, 72, 76 and 80 quarter note beats to the minute. The rhythmic detail requires some attention particularly with the tied notes across the bar line creating what are syncopated patterns. Pianists may well make of use the sustaining pedal, particularly in the section from bar 25, although its use is not indicated in the sheet in the sheet music score. Schumann’s 6 Studies in Canon Opus 56 exist in several arrangements for many different instrument combinations and are well worth exploring particular as an introduction to chamber music playing. Close
Added: 11th May, 2021 10:05 AM |
Views : 6 |
Downloads : 0
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s orig Read More...
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range. In the video score, which can be found by clicking the YouTube link on the PlentyMusic home page, the ornaments have been written out to add clarity to what often is an ambiguous area. The PlentyMusic solution is not intended to be prescriptive but the suggestions are based on the best of current performance practice. The ornaments can be omitted and this is probably sensible when the movement is first being studied. Accompaniments are available from the PlentyMusic website in mp3 format that enable the clarinet in Bb player to explore the movement as an ensemble piece. Recorded at 256kbps quality they play back at 64, 68, 72, 76 and 80 quarter note beats to the minute. The rhythmic detail requires some attention particularly with the tied notes across the bar line creating what are syncopated patterns. Pianists may well make of use the sustaining pedal, particularly in the section from bar 25, although its use is not indicated in the sheet in the sheet music score. Schumann’s 6 Studies in Canon Opus 56 exist in several arrangements for many different instrument combinations and are well worth exploring particular as an introduction to chamber music playing. Close
Added: 11th May, 2021 08:05 AM |
Views : 7 |
Downloads : 0
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in this work composed at a time that Schumann was Read More...
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in this work composed at a time that Schumann was intent on restoring rigour and contrapuntal discipline in his compositional approach. Whilst this music references the past there is a romantic twist or two in the harmonic language. A tempo of 76 quarter note (crotchet) beats to the minute is used in the realisation. Trills begin on the note and have been written out in the video score. Understand that the melodic and rhythmic shapes of the ornaments are constant throughout the whole movement. Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently many other arrangements have been created. The two piano parts piano 1 and piano 2 can be also be downloaded as an mp3 accompaniment enabling players to enjoy an ensemble music experience playing either the piano 1 or piano 2. Piano 1 sounds on one side of the stereo channel and piano 2 part on the other. The accompaniments play at 64, 68, 72,76 and 80 quarter note (crotchet) beats to the minute. There is a 2 bar click beat before the music starts playing. When performing printing two pages of music onto one side of A4 offers a practical solution for players. Close
Added: 11th May, 2021 07:05 AM |
Views : 11 |
Downloads : 0
This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Read More...
This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 64 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the trumpet in Bb player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a trombone and require just the piano sounding in the accompaniment. Close
Added: 14th April, 2021 07:04 AM |
Views : 30 |
Downloads : 0
T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different ins Read More...
T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different instrument combinations. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to on the trio video scores on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. The final chord should be spread evenly from the lowest to the highest sound in the piano part. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the oboe player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a cellist and require just the piano sounding in the accompaniment. Close
Added: 14th April, 2021 07:04 AM |
Views : 21 |
Downloads : 0
T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different ins Read More...
T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different instrument combinations. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to one of the video scores on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. The final chord should be spread evenly from the lowest to the highest sound in the piano part. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the oboe player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a cellist and require just the piano sounding in the accompaniment. Close
Added: 13th April, 2021 14:04 PM |
Views : 24 |
Downloads : 0
This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Read More...
This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the clarinet in Bb player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a bass clarinet and require just the piano sounding in the accompaniment. Close
Added: 13th April, 2021 13:04 PM |
Views : 28 |
Downloads : 0
This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expandi Read More...
This version has been transposed down a semitone from the original key of B to Bb. T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music to be enjoyed by a chamber group. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on our PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the soprano saxophone player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a tenor saxophone and require just the piano sounding in the accompaniment. Close
Added: 13th April, 2021 11:04 AM |
Views : 26 |
Downloads : 0
T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different ins Read More...
T. Kirchner, arranged the six Schumann’s Studies in Canon expanding the original concept into music that can be enjoyed by a number of different instrument combinations. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in style and reminiscent of Bach’s 4 part chorale writing although with chromatic romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. The realisation plays back at 60 quarter note beats to the minute with the tempo is marked adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills begin on the note. The final chord should be spread evenly from the lowest to the highest sound in the piano part. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling the oboe player to explore and develop their ensemble skills. Four accompaniments are available in the tempo range from 58 to 64 quarter beats to the minute. Do advise the Plenty Music Office if you are playing with a cellist and require just the piano sounding in the accompaniment. Close
Added: 13th April, 2021 11:04 AM |
Views : 28 |
Downloads : 0
The Debussy arrangements of Schumann’s Studies in Canon for Two Pianos are an exploration of Schumann’s original music from both the spatial and Read More...
The Debussy arrangements of Schumann’s Studies in Canon for Two Pianos are an exploration of Schumann’s original music from both the spatial and textural point of view. This is a quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writing although with chromatic harmony of Schumann’s own time. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 returns to the mood and style of the first section although this section has both more contrast and drama. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo marked as adagio in the score. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on out PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. Trills in this time begin on the note. The final chord should be spread evenly from the lowest to the highest sound. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. Accompaniments are available enabling pianists to explore and develop their ensemble skills. The piano 1 part sounds on one side of the stereo channel and piano 2 on the other. There are four accompaniments available in the tempo range from 58 to 64 quarter beats to the minute. Close
Added: 13th April, 2021 10:04 AM |
Views : 24 |
Downloads : 0
This quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writin Read More...
This quiet slow movement in reflective mood with a compositional approach that is vocal in its style and reminiscent of Bach’s 4 part chorale writing although presented with romantic harmony. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The second middle section is presented as a fugal exposition. The final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for pianists to aim for the best legato possible in their playing. The realisation plays back at 56 quarter note beats to the minute with the tempo is marked adagio in the score. The challenge playing the piano version is simply managing the musical lines and imitation embraced in the texture. The music editor suggests playing through the separate lines of the score to gain understanding of the compositional process and points of imitation. This is a challenging movement from the music reading point of view because of the chromaticism and tied notes. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. The final chord should be spread evenly from the lowest to the highest sound. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce intermediate level players to chamber music playing. It is quite understandable that other composers and arrangers have re-visited the Studies in Canon by Schumann, in a practical way, with arrangements for various instrument combinations. These arrangements encourage a clearer understanding of the contrapuntal aspects of the original composer’s writing. Do explore the organ, piano duet, two piano and trio versions available on the PlentyMusic website. Close
Added: 13th April, 2021 06:04 AM |
Views : 40 |
Downloads : 0
This quiet slow movement in reflective mood is vocal in its style and reminiscent of Bach’s 4 part chorale writing although featuring chromatic harm Read More...
This quiet slow movement in reflective mood is vocal in its style and reminiscent of Bach’s 4 part chorale writing although featuring chromatic harmony associated with the romantic era. The melody is not always in the top line and as in 4 part chorale writing it is the tenor line that often needs to be prominent. The first section is essentially a 4 part chorale featuring romantic chromatic harmony from Schumann’s own time rather than the diatonic harmony of Bach’s time. The second middle section is presented as a fugal exposition whilst the final section is introduced by a dotted rhythm as an upbeat in bar 32 and returns to the mood and style of the first section although this final section has more contrast and is more dramatic. Schumann’s intention is to combine beauty of sound with a legato touch and it is important for organists to aim for the best legato possible in their playing. The realisation plays back at 60 quarter note beats to the minute with the tempo indication in the score marked as adagio. This is an absorbing and challenging movement to with a particular challenge being to communicate the imitation that is evident in the music score. The music editor suggests playing through the separate lines of the score to gain understanding of the compositional process and points of imitation. This is also a challenging movement from the music reading point of view because of the chromaticism and tied notes and playing at a slow tempo. In the organ realisation two organ sounds have been used. For those wishing to see how the ornaments in the realisation are played refer to the video score on the PlentyMusicCo YouTube channel. Simply click the link on the PlentyMusic home page and search for the score. In the organ arrangement there is the possibility of adding an additional trill on the G# in bar 31. Trills begin on the note. There are many arrangements of this particular movement and the music editor suggests that along with Schumann’s other Studies in Canon they are ideal works to introduce players to chamber music playing. It is quite understandable that other composers and arrangers have re-visited the Studies in Canon by Schumann, in a practical way, with arrangements for various instrument combinations. These arrangements encourage a clearer understanding of the contrapuntal aspects of the original composer’s writing. Explore the solo piano, piano duet, two piano and trio versions available on the PlentyMusic website. Close
Added: 13th April, 2021 06:04 AM |
Views : 33 |
Downloads : 0
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. An oboe substitutes for the violin and a clarinet in A for the violoncel Read More...
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. An oboe substitutes for the violin and a clarinet in A for the violoncello. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing oboe part. the Primo or Secondo parts. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players.
Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close
Added: 11th January, 2021 11:01 AM |
Views : 140 |
Downloads : 0
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. Two clarinets in A substitute for the violin and the violoncello. The mu Read More...
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. Two clarinets in A substitute for the violin and the violoncello. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing the first clarinet in A part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players.
Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close
Added: 11th January, 2021 11:01 AM |
Views : 121 |
Downloads : 0
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the viol Read More...
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin and the clarinet in A for the violoncello. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players.
Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close
Added: 11th January, 2021 11:01 AM |
Views : 145 |
Downloads : 0
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The clarinet in A substitutes for the violin in this particular arrangem Read More...
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The clarinet in A substitutes for the violin in this particular arrangement. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing the clarinet in A part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players. Close
Added: 11th January, 2021 10:01 AM |
Views : 119 |
Downloads : 0
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The music opens and closes with an Andantino section that plays back at Read More...
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing the violin part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a practical solution for players. Close
Added: 11th January, 2021 10:01 AM |
Views : 128 |
Downloads : 0
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin in this particular arrangement with Read More...
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The flute substitutes for the violin in this particular arrangement with some re-scoring of the fluteto keep to the instruments range. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line. The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players.
Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close
Added: 11th January, 2021 10:01 AM |
Views : 137 |
Downloads : 0
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The oboe substitutes for the violin in this particular arrangement with Read More...
This is Kirchner's trio arrangement of Schumann's Study No.3 for pedal piano. The oboe substitutes for the violin in this particular arrangement with some re-scoring of the oboe and violoncello part towards the end of the movement. The music opens and closes with an Andantino section that plays back at 72 quarter note beats to the minute while the section marked poco più mosso plays at 84 quarter note or crotchet beats to the minute. The longer middle section of the Canon is in ABA (ternary) form. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. There are also some additional ornaments which have been notated in full in the sheet music score although that appearing in the top line in bar 23 players may wish to omit. The performance practice of this movement the music editor suggests is at times ambiguous and at best inconsistent. The texture can be described as a melody played as a canon and creating two voices, combined with an accompaniment figuration very typical of much of the composer’s keyboard music and a bass line.
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. Pianists can also explore the piano duet version of Georges Bizet and the two piano version by Claude Debussy. There is opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) within a phrase as far as tempo is concerned. Some use of the sustaining pedal is suggested but it has not been indicated in the sheet music score. The violoncello part has been notated in the treble and bass clef.
The accompaniment downloads available enable players to enjoy an ensemble music experience playing the oboe part. Accompaniment 1 plays at 68|80|68 quarter (crotchet) note beats to the minute, Accompaniment 2 plays at 72|84|72 quarter (crotchet) note beats to the minute, Accompaniment 3 at 76|90|76 quarter (crotchet) note beats to the minute dotted quarter (crotchet) note beats to the minute, and Accompaniment 4 at 80|100|80 quarter (crotchet) note beats to the minute. There is no count in as the piano solo features in the introduction. When performing printing two pages of music onto one side of A4 offers a very practical solution for players.
Please advise the PlentyMusic Office by email if you would like to see more accompaniments for this movement adding a specification as far as tempo and instrumentation. Close
Added: 11th January, 2021 10:01 AM |
Views : 128 |
Downloads : 0
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this his original arrangement for violin, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. Parts for both violin and violoncello are appended to the full score.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in featuring the sound of the woodblock. Close
Added: 28th December, 2020 09:12 AM |
Views : 160 |
Downloads : 0
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for soprano saxophone, tenor saxophone and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the soprano saxophone part to accommodate the range of the instrument. Parts for both saxophones appropriately transposed are appended to the full score.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays back at 63 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the soprano saxophone as a solo. The piano and tenor saxophone sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close
Added: 28th December, 2020 09:12 AM |
Views : 128 |
Downloads : 0
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for soprano saxophone, baritone saxophone and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the soprano saxophone part to accommodate the range of the instrument. Parts for both saxophones appropriately transposed are appended to the full score.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays back at 63 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the soprano part as a solo. The piano and baritone saxophone sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close
Added: 28th December, 2020 09:12 AM |
Views : 155 |
Downloads : 0
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for oboe, bassoon and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the oboe part needed to keep to the range of the instrument and some minor re-scoring of the parts in bar 51. Parts for the oboe and bassoon are appended to the full score. The realisation plays back at 63 dotted quarter note (crotchet) beats to the minute.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the oboe part as a solo. The piano and bassoon sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in utilising the sound of a woodblock. Close
Added: 28th December, 2020 09:12 AM |
Views : 163 |
Downloads : 0
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for clarinet in Bb, bass clarinet and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the flute part to accommodate the range of the instrument. Parts for the clarinet in Bb and bass clarinet appropriately transposed are appended to the full score. The music editor would like to hear from bass clarinet players as to the practicality of playing the low notes in the score.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the clarinet in Bb part as a solo. The piano and bass clarinet sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close
Added: 28th December, 2020 09:12 AM |
Views : 164 |
Downloads : 0
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for flute, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the flute part to accommodate the range of the instrument. Parts for the flute and violoncello are appended to the full score.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the flute part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close
Added: 28th December, 2020 09:12 AM |
Views : 167 |
Downloads : 0
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for clarinet in Bb, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the clarinet in Bb part to assist in keeping to the range of the instrument. Parts for the clarinet in Bb and violoncello are appended to the full score.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 63 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the oboe part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in featuring the sound of a woodblock. Close
Added: 28th December, 2020 08:12 AM |
Views : 161 |
Downloads : 0
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...
Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for oboe, violoncello and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the oboe part t needed to keep to the range of the instrument and some minor re-scoring of the parts in bar 51. Parts for the oboe and violoncello are appended to the full score.
The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned.
The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the oboe part as a solo. The piano and violoncello sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in utilising the sound of a woodblock. Close
Added: 28th December, 2020 08:12 AM |
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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 Read 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 |
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The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingerin Read More...
The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingering in place and the cadential ornamentation is written out. The second duet in F major BWV 803 is a fugue written in the form of a da capo aria ABA. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering in place which should serve as a useful guide in the first instance. The music editor’s concept is that once familiarised with the movement players will default to the plain score perhaps substituting their own choice of fingering when they feel it is appropriate.The tempo of the piano realisation and video score is 96 quarter note beats (crotchet) beats to the minute. A piece when played on the piano with energy and purpose that really can/does come alive. This is quite stunning contrapuntal music composed when J.S. Bach was at the top of his form. A very delicate almost paintbrush stoke is required particularly in the B section but an awareness of how to use weight in the hands is also most applicable in the A section. It is becoming one of the music editors most absorbing pieces to play and listen to simply because it explores so many aspects of articulation and performance and yet the conception is in just two parts. Pianists need to have a Lightness in the hands and touch needs to be explored at all times. Close
Added: 7th September, 2020 08:09 AM |
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The Sinfonias of J.S. Bach are three voiced works and can be played on either the harpsichord, piano or organ. There are 15 in the collection all of w Read More...
The Sinfonias of J.S. Bach are three voiced works and can be played on either the harpsichord, piano or organ. There are 15 in the collection all of which explore contrapuntal writing to the full. Bach’s intention was to prepare students for composition and a cantabile style of playing. The autograph copy of the Sinfonia’s is dated 1723. The organ realisation plays back at a tempo of 80 quarter note beats to the minute. The Two Part Inventions and Sinfonias are essential repertoire for all keyboard players and not a bad introduction to playing Bach on the organ. They are ideal “warm up” pieces. Close
Added: 7th September, 2020 07:09 AM |
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Invention No.8 in F is a busy uplifting movement requiring a good technique and level of musicianship to be played accurately and at a consistent temp Read More...
Invention No.8 in F is a busy uplifting movement requiring a good technique and level of musicianship to be played accurately and at a consistent tempo. The imitative counterpoint is a strong feature and the notes and shapes need to be clearly articulated. A tempo of 92 quarter note (crotchet) beats to the minute is used in the organ realisation and video score. Right and left hand fingering is clearly specified in the sheet music download although feedback to the music editor on the placement of fingering would be appreciated. Over, under or to the side of the note? The Two Part Inventions and Sinfonias are essential repertoire for all keyboard players and a very good introduction to playing Bach on the organ. Close
Added: 7th September, 2020 07:09 AM |
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There are recordings of this work played on the piano, organ and harpsichord of this fine 4 part fugue now attributed to Gottlieb Muffat. Gottlieb Muf Read More...
There are recordings of this work played on the piano, organ and harpsichord of this fine 4 part fugue now attributed to Gottlieb Muffat. Gottlieb Muffat (1690 – 1770) the son of George Muffat was a court organist and composer in Vienna becoming first organist on the accession of Maria Theresa to the throne in 1741. His compositional output mostly comprises keyboard music although much of it was not published. Toccatas, fugues, ricerare, canzonas and suites are to be found in his music collections and Handel often borrowed and reworked Muffat’s music. Muffat was a fine contrapuntist although a conservative approach is evident in his writing. This piece is often attributed to G. Frescobaldi. The chromatic element of this movement makes it a challenge to read and to complicate matters performances and sheet music copies of the music do vary in their detail. Players need to study the score carefully because at times the musical lines have conflicting accidentals. This is explained by the composer referencing the modes that originate in music from earlier times that createwhat are known as “false relations.” There is an arrangement by Bartok of this Fugue for piano although at the time ihe understood it to be a work by Frescobaldi. There need to be clarity in the articulation of the lines particular when the fugal entries are made. A tempo in the range 72 – 84 quarter note beats to the minute is suggested whilst in the realisation and video score play back at 80 quarter note beats to the minute. One of the challenges for the player is deciding which hand plays which notes in the middle voices. The music editor will upload an edited music score to the website in the future. Players also need to communicate an awareness of the musical texture in their playing. The trills begin on the note and modern performances often features additional ornaments although the music editor advises caution and consistency in their use. There are strong rhythmic motifs in the fugue and any ornamentation should not detract from the composer’s intention. There are performances that suggest that the performance practice for music of this period is not as secure as music from more well researched times. Another challenge for musicians is understanding the pitch element in the music of the period. The tuning fork was invented in 1711 and the suggestion is that the pitch standard during the Baroque period was roughly a semitone layer than modern standard pitch of A4 = 440Hz. A4 in the Baroque period was = 415Hz although pitch levels did vary around Europe. The chromatic element is a particular feature and there is a unifying downwards chromatic line that appears a number of times. Close
Added: 7th September, 2020 07:09 AM |
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The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingerin Read More...
The Duet in F BWV 803 was published in 1739 being one of 4 Duettos. The sheet music copy available from the PlentyMusic website has suggested fingering in place and the cadential ornamentation is written out. The second duet in F major BWV 803 is a fugue written in the form of a da capo aria ABA. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering in place which should serve as a useful guide in the first instance. The music editor’s concept is that once familiarised with the movement players will default to the plain score perhaps substituting their own choice of fingering when they feel it is appropriate. The organ realisation and video score keeps to the same registration but in a performance there is opportunity to change the registration in the middle B section. The organ realisation plays back at 84 quarter note beats to the minute. Close
Added: 7th September, 2020 07:09 AM |
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A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ Read More...
A very attractive piece for organ or harpsichord just 56 bars in length but featuring strong musical shapes that explores the full range of the organ manual. A tempo in the range 84 – 96 quarter note beats to the minute is suggested with the realisation playing back at 84 quarter note beats to the minute. The movement can be played on a one manual instrument with an 8 foot stop suggested as an appropriate registration. Imitation, the use of sequence and repetition are compositional processes that feature with the full range of the keyboard being explored. The descending musical shapes and motifs need to be clearly articulated particularly at the beginning of phrases. There are 12 ornaments indicated in the score. The upper mordent note /note above/note is used on short notes while the trill is in place on notes a quarter note (crotchet) in length. As the movement progresses the texture becomes more complex and ornaments become less evident in the score. The video score which can be viewed on the YouTube channel has all the ornaments written out whilst the sheet music score has symbols in place. Ornamentation in music performance is a complex topic and additional ornaments could be added at important cadence points. The music editor argues the case for clarity and simplicity suggesting that ornaments are added when the movement can be played competently. Note that rests in silent voices are used rather inconsistently. The music editor has found recordings of this music where it has been attributed to A. Scarlatti. As music was hand copied and often shared between teachers and pupils this is a frequent occurrence in music from these early times. Domenico Zipoli (1688-1726) was an Italian Baroque composer who lived and worked as a Jesuit priest in South America. Born in Prato, near Florence he studied with Alessandro Scarlatti and Bernardo Pasquini and in Rome produced in 1716 a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo which includes this particular canzona. This music is still highly regarded and playable by an intermediate level player. Close
Added: 27th August, 2020 08:08 AM |
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The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733.
It is in ABA form and based on the sarabande rh Read More...
The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733.
It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in the bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is option available to the organists although it is important to keep to the style and mood of the piece. This is very appropriate music for a solemn processional in an organ playing context. The use of three registrations is suggested and are indicated in the score. Rests have been indicated in all parts so that players have a clear understanding of the voicing. It is also a movement that invites interpretation and playing in different contexts. The arrangement is in the original key of F major although the tempo for the organ solo is more Larghetto than Largo which was the tempo indication in the opera. The video score plays back at a tempo of 66 half note or minim beats to the minute. Rests are indicated in the score enabling players to have a clear understanding of the voicing of the musical lines.
Moskowski has also arranged the aria for piano. Close
Added: 24th June, 2020 17:06 PM |
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Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the Read More...
Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the composers Two Part Inventions. The Duet does present a number of score reading challenges for the player even though the music is conceived in two parts. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering which may serve as a useful guide to how the movement is studied in the first instance. The music editors concept is that once familiarised with the movement that players will make use of the plain score perhaps substituting their own choice of fingering where they feel it is appropriate. The time signature is in 12/8 and the piano realisation plays back at a tempo of 60 dotted quarter note beats to the minute. There are many fine performances of this movement on several different types of keyboard instrument that are worth exploring. Close
Added: 13th June, 2020 12:06 PM |
Views : 526 |
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Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the Read More...
Duet No.3 BWV 804 in G major is an appealing work with a light, dance like character. It is an intermediate level performance piece reminiscent of the composers Two Part Inventions. The Duet does present a number of score reading challenges for the player even though the music is conceived in two parts. The 4 Duets are part of Clavier-Übung III or the German Organ Mass and composed really at the zenith of the composer’s contrapuntal writing. The edited music score has suggested fingering which may serve as a useful guide to how the movement is studied in the first instance. The music editors concept is that once familiarised with the movement that players will make use of the plain score perhaps substituting their own choice of fingering where they feel it is appropriate. The time signature is in 12/8 and the piano realisation plays back at a tempo of 60 dotted quarter note beats to the minute. There are many fine performances of this movement on several different types of keyboard instrument that are worth exploring. Close
Added: 13th June, 2020 11:06 AM |
Views : 435 |
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It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note hea Read More...
It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note heads and suggested fingering is in place. The tempo of the playback on the video score is 84 half note or minim beats to the minute.Players need to take notice of the accent signs marked in the score and keep their hands as light as possible. Playing a blues structured piece of music does encourage fluent playing and the development of musical memory. The 12 bar blues forms the basis of much popular music of the 20th century. Close
Added: 8th June, 2020 13:06 PM |
Views : 3712 |
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The three part Fugue in E BuxWV 175 originates as an organ work but readily transcribes as music that can be a guitar ensemble. It is a movement featu Read More...
The three part Fugue in E BuxWV 175 originates as an organ work but readily transcribes as music that can be a guitar ensemble. It is a movement featuring much imitation in the three lines of music. It is also divided into three sections and is more canzona than fugue. The music needs to be played very evenly with a lightness of touch. Entries of the subject in the voices need to be stated clearly. The challenge in playing music in this style is creating space and communicating the intentions and formal shape of the music. The playback tempo in the realisation is 76 quarter note beats to the minute but the movement can be played at a quicker tempo if preferred. Individual guitar parts are appended to the full score. There is minimal score detail in the sheet music score as is the convention with music from this era. The music editor also suggests listening to some of the organ versions that exist readily accessible on streaming media. Buxtehude 1637 – 1707 was an important compose of the mid-baroque period and an important influence on J. S. Bach, G.F. Handel and G. P. Telemann. Whilst described as a German composer he considered to be Danish himself though the place he was born is now in Sweden! His place of work from 1668 was St. Mary’s Church, (Marienkirche) Lübeck and apart from his vocal music composed for church contexts there is a substantial amount of music for organ including preludes, toccatas and fugues, chorale settings and pieces based on repeating bass lines or ostinatos. Close
Added: 28th April, 2020 06:04 AM |
Views : 251 |
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The three part Fugue in G BuxWV 175 originates as an organ work but readily transcribes as music that can be played on the piano. It is a movement fea Read More...
The three part Fugue in G BuxWV 175 originates as an organ work but readily transcribes as music that can be played on the piano. It is a movement featuring much imitation in the three lines of music. It is also divided into three sections and is more canzona than fugue. The music needs to be played very evenly with a lightness of touch. Entries of the subject in the voices need to be stated clearly. The challenge in playing music in this style is creating space and communicating the intentions and formal shape of the music. The playback tempo in the realisation is 72 quarter note beats to the minute but the movement can be played at a quicker tempo if preferred. There is minimal score detail in the sheet music score as is the convention with music from this era. The music editor also suggests listening to some of the organ versions that exist readily accessible on streaming media. Buxtehude 1637 – 1707 was an important compose of the mid-baroque period and an important influence on J. S. Bach, G.F. Handel and G. P. Telemann. Whilst described as a German composer he considered to be Danish himself though the place he was born is now in Sweden! His place of work from 1668 was St. Mary’s Church, (Marienkirche) Lübeck and apart from his vocal music composed for church contexts there is a substantial amount of music for organ including preludes, toccatas and fugues, chorale settings and pieces based on repeating bass lines or ostinatos. It is worth exploring music originally intended for the organ and harpsichord performance on the piano. Alan Feinberg’s CD “Fugal State” and Francesco Tristano “Long Walk” are two contemporary collections that include the keyboard music of Buxtehude played on the piano. Close
Added: 28th April, 2020 06:04 AM |
Views : 323 |
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A fugue is not strictly a musical form but more a compositional style in which the process of imitation dominates in voices or lines of music describe Read More...
A fugue is not strictly a musical form but more a compositional style in which the process of imitation dominates in voices or lines of music described as counterpoint. Understand that the musical conception is in lines. The realisation plays back at 100 dotted quarter notes to the minute. The music editor suggests that if you have the technique and composure try to get to 110 dotted quarter notes to the minute as the music then really does seem to come alive. The dynamic range of this work is very much determined by the texture which varies from a single voice to four voices in varying combinations. In music of this time the score detail tends to be quite minimal and this score keeps to that practice. Buxtehude’s position in music history has resulted in him being overshadowed by J. S. Bach but Buxtehude composed many fine keyboard works that transcribe well to the piano. This is an uplifting piece to both listen to and play having the rhythmic template of a jig and a “modern” sound attributable to the tonal ambiguities that result from the conflicting accidentals often in different lines of the music. For those interested in finding out more about this look up the term “false relation.” The subject entries need to be clearly articulated and a sense of forward movement needs to be communicated at all times by the piano/keyboard player.
In terms of the music setting there are some indications in the score as to which hand plays which line of the music and the player needs to have a clear understanding of the division of labour between the two hands. Ornaments do not feature in the score but can be added at the performers discretion once a clear understanding of the options have been appreciated from listening and analysing recordings and performances. Close
Added: 14th May, 2018 12:05 PM |
Views : 961 |
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