Robert Schumann’s Study in Canon No. 5 from his Opus 56 collection is a challenging movement to play and interpret. Whilst the music is quite vivid, Show More...
Robert Schumann’s Study in Canon No. 5 from his Opus 56 collection is a challenging movement to play and interpret. Whilst the music is quite vivid, the context is unclear in what is structurally a ternary form movement. The organ version has a playback tempo of 96 quarter note (crotchet) beats to the to the minute. The tempo direction in the score is to play the movement “Not too fast.” A canon arises in the description of a musical piece simply because musical ideas are imitated by another voice or instrument. It doesn’t necessarily describe the overall form or structure of a piece. The Study in Canon No. 5 is in three sections ABA’ with Section B beginning at bar 37 and the varied repeat of A at bar 83. The canonic element in Schumann’s time references all the musical elements and not just pitch: dynamics, articulation, ornamentation are all part of the canonic process. The crushed notes or acciaccaturas are a prominent musical feature. This is essentially a study in the articulation of short notes and occasional longer notes. Compositional process is evident from bar 49 where the canonic element involves inversion. There are some limitations regarding the range and choice of organ sounds in the realisation. Players should listen to performances on actual instruments available on streaming media. Close
Added: 3rd June, 2021 12:06 PM |
Views : 2034
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 Show 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 : 2808
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 Show 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 : 2513
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 p Show More...
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. Both appoggiaturas (leaning notes) and acciaccaturas (crushed notes) feature as ornaments in the score. 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 composers 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 whilst the piano trio arrangements of Kirchner offer excellent additional repertoire.When playing this music on the organ understand than it was composed for an instrument described as a pedal piano which had one keyboard with a pedal board. It was often used as a practice instrument by organists. It is possible to see one being played on YouTube. Close
Added: 30th December, 2020 14:12 PM |
Views : 2623
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. The Show More...
The Studies in Canon Opus 45 date from 1845 and were composed when the composer was focused on developing contrapuntal discipline in his writing. The voice leading particularly in the two top lines of the organ solo is often quite difficult to follow and that is why the piano duet version arranged by Bizet and the two piano version arranged by Debussy are well worth exploring. Schumann was quite an insecure individual both in himself and in his abilities as a composer. The reason for this is both can be understood by knowing that in that his original ambition was to be a pianist and secondly that a very overbearing father-in-law. There is added significance in the observation that this scond movement Opus 56 movement is 56 bars long. Schumann had an obsession with puzzles particularly mathematical ones. When playing this music on the organ understand than it was composed for an instrument described as a pedal piano which had one keyboard which was often used as a practice instrument by organists. Unsurprisingly, in music composed for this instrument with just one keyboard there is opportunity to share parts between the hands in some sections. The realisation plays back at 66 dotted quarter notes (crotchet) beats to the minute. From the music setting point of view this is quite a challenging piece particularly sorting out the two top voices which often are together in the same clef. For the player separating the voices by playing stems up for one voice and stems down for another offers clarity in understanding of the parts. Close
Added: 4th November, 2020 08:11 AM |
Views : 2253
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in a work composed, at a time that Schumann was i Show More...
A movement with beauty, shape and a sense of space. The imitation principle is understandably strong in a work composed, at a time that Schumann was intent on restoring rigour and confidence to his own compositional process. For players a secure and even technique is needed to play this relatively short movement. 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 organ realisation. Trills begin on the note and the pattern is shown in the ossia stave in bar 7 where the trill is notated. Understand that the melodic and rhythmic shapes of the ornaments need to be played consistently throughout the movement. The trills do not sound in the organ realisation. Schumann’s Canonic Studies were composed in 1845 for pedal piano and subsequently arranged for piano duet / piano four hands by Georges Bizet. There are also other versions for solo piano, two pianos and string quartet. Close
Added: 2nd October, 2020 09:10 AM |
Views : 2519
The Wild Horseman is an improver level piano solo and an ideal piece to encourage fast playing. In ternary form ABA the music comes from the collectio Show More...
The Wild Horseman is an improver level piano solo and an ideal piece to encourage fast playing. In ternary form ABA the music comes from the collection that Schumann composed in 1848 for his three daughters. It is in A minor and is an excellent piece for developing arpeggio playing. It should be played at a fast tempo whilst the realization plays back at 110 dotted quarter note beats to the minute. The Album for the Young is one of the great collections of piano literature for the young player. Close
Added: 1st June, 2020 10:06 AM |
Views : 3222
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life.This is a very uplifting mov Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life.This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for tuba accompanied by the piano. The solo part is appended to the piano score. There is a two bar click count in on the accompaniment track. Close
Added: 4th August, 2019 14:08 PM |
Views : 2503
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life.This is a very uplifting mov Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life.This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for viola accompanied by the piano. The solo part is appended to the piano score. There is a two bar click count in on the accompaniment track. Close
Added: 4th August, 2019 14:08 PM |
Views : 2567
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting mo Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for cello accompanied by the piano. The solo part is also appended to the piano score. There is a two bar click count in on the accompaniment track. Close
Added: 4th August, 2019 14:08 PM |
Views : 2315
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting mo Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for alto saxophone accompanied by the piano. The solo part is appended to the piano score. There is a two bar click introduction to the accompaniment. Close
Added: 3rd August, 2019 07:08 AM |
Views : 2452
A movement from Schumann’s “Album for the Young” Opus 68 (1848) for improver level piano. The piano collection which was composed at a very happ Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) for improver level piano. The piano collection which was composed at a very happy time in his life has many delightful pieces of music to discover. The edited music score has clearly specified fingering. This is an excellent piece for developing a singing legato line in the left hand. The realization plays at a tempo of 110 quarter note beats (crotchet) to the minute. It is also the ideal movement for developing two important piano /keyboard techniques: i) slipping the thumb down from one note to another (bar 4 left hand) and also changing the finger on a note. Both techniques encourage good legato playing. Close
Added: 2nd August, 2019 12:08 PM |
Views : 3614
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting mo Show More...
A movement from Schumann’s “Album for the Young” Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for violin accompanied by acoustic guitar and string bass. There is a two bar click count in on the accompaniment track. A bass guitar can be used if available. Close
Added: 2nd August, 2019 12:08 PM |
Views : 2624
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “ Show More...
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (ternary form) and has been arranged for violin and piano. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the violinist and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A violin part is appended to the full score. Close
Added: 26th April, 2019 08:04 AM |
Views : 2431
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “ Show More...
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (Ternary form) and has been arranged for clarinet in Bb and piano sounding in C minor. There are a few octave transpositions in the piano part. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the clarinet player and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A clarinet in Bb part is appended to the full score. Close
Added: 26th April, 2019 08:04 AM |
Views : 2471
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “ Show More...
This piece comes from Robert Schumann’s piano collection Waldscenen Opus 82 and dates from 1849. The title “Vogel als Prophet” translates as “Bird of Prophet” or “The Prophet Bird.” It is an impressive piece in ABA (Ternary form) and has been arranged for flute and piano. There are a few octave transpositions in the flute part simply needed to keep the melody within the instrument’s range. The tempo indication in German is Langsam, sehr zart which translates as Slowly, very tenderly. The music has a haunting quality and offers challenges for both for the flautist and accompanist making it a very good test piece. The playback in the realisation is a little on the tense side and does not explore tempo rubato which at this time was an aspect of performance practice. Poise and control are needed in a performance whilst all the shapes need to be practiced for accuracy and shape. This is a music score that offers many challenges to players. The tempo in the realisation is 60 quarter note beats although there is opportunity to slow down at the end of phrases. The trill has been written out on an ossia stave in the sheet music score. The sustaining pedal has been indicated in the score but minimal use is suggested. This is a work that challenges the performers to make it their own in the sense that from the first note to the last both the players and the listeners must be captivated. It is a piece where it very easy for the music to be lost on the journey of a performance. It is important for players have a clear understanding of the rhythmic notation and intention - 3 thirty-second notes (demisemiquavers) are to be played in the time of one sixteenth note (or semiquaver). The music editor suggests that at the end of bar 18 the tempo is slowed and again at the end of bar 23 before the return to Tempo I at bar 25. This arrangement keeps as close to Schumann’s score copy as possible. A flute part is appended to the full score. Close
Added: 26th April, 2019 07:04 AM |
Views : 2360
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A tuba part is appended to the full score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 10:06 AM |
Views : 2650
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A euphonium part notated in the bass and tenor clef is appended to the full score. Three piano accompaniments are available for this score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 10:06 AM |
Views : 2787
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 84 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A trombone part is appended to the full score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 09:06 AM |
Views : 2724
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. An oboe part which features a number of octave displacements and rhythmic editing to keep to the instrument’s range is appended to the full score. Three piano accompaniments are available for this score. Accompaniment 1 plays at 80 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 88 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 07:06 AM |
Views : 2811
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a perf Show More...
Composed in 1849, this movement could be described as a song without words having a restless haunting quality which needs to be communicated in a performance. The score is marked “Zart und mit Ausdruck” which translates as “Tender with expression.” What is challenging is that the piece can be satisfactorily performed at quite a number of different tempi from 80 quarter note (crotchet) beats to the minute to ones in excess 100+. Tempo matters however always need to be always under control - slight speeding ups and slowing downs (tempo rubato) are quite appropriate for the style of the movement but players need to prevent the music from running away with itself which can so easily happen encouraged particularly by the triplet figuration. In this realisation the tempo is 90 quarter note (crotchet) beats to the minute. It is an excellent ensemble piece and particular good one for a player to learn about how to perform music. There are many performances available to listen to in the media featuring a variety of different instruments. There is a considerable amount of score detail to absorb, including the triplet figuration and not all the piano pedal markings are indicated in the score. The accompanist should also avoid playing too loudly. Like many pieces from the romantic period in the music is in ABA (ternary) form and is quite chromatic. A flute part with a number of octave transpositions allowing the soloist to keep within the range of the instrument is appended to the full score. Three piano accompaniments are available for this score. Accompaniment 1 plays at 88 quarter note beats (crotchet) to the minute, Accompaniment 2 at 84 quarter note (crotchet) beats to the minute and Accompaniment 3 at 80 quarter note beats (crotchet) to the minute. Close
Added: 19th June, 2018 07:06 AM |
Views : 2867
Traümerie (Dreaming) was originally a piano work from Robert Schumann's "Scenes of Childhood" Opus 16 published in 1838. It is a very familiar piec Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's "Scenes of Childhood" Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 2372
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 2395
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 2348
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 2233
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 2244
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 2244
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece f Show More...
Traümerie (Dreaming) was originally a piano work from Robert Schumann's Scenes of Childhood Opus 16 published in 1838. It is a very familiar piece from the romantic repertoire suited to being played by many instruments as a solo accompanied either by the piano or various forms of ensemble. There are wide tempo variations in performances of the work and I would suggest listening to different solo instruments and piano recordings. The challenge in a performance is to combine the beauty of the melody with a beauty of tone of the instrument which is being played with a sense of space and an understanding of the time elements that exist in music. Understandably because this is a piece of music from the romantic repetoire is a very emotional piece of music which can both be communicated well and also on occasions insensitively. It is excellent piece for broadening performing experience where players need to show sensitivity to the acoustic and the the best performances of this work tend not to be rushed. Whatever instrument is being played the original piano score is worth a study of its own. Players need to linger particularly on the dotted quarter notes (crotchets) and pianists will need to make use of the sustaining pedal. The harmonic language is at times quite chromatic with diminished seventh chords featured. Close
Added: 27th July, 2017 11:07 AM |
Views : 2284
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement w Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for trombone accompanied by the piano. The solo trombone part is appended to the piano score. There is a two bar click count in on the accompaniment track. Close
Added: 27th July, 2017 11:07 AM |
Views : 2464
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement w Show More...
A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for bass clarinet accompanied by the piano. The solo part is also appended to the piano score. There is a two bar click introduction on the accompaniment mp3. Close
Added: 27th July, 2017 11:07 AM |
Views : 2608
