Tchaikovsky’s ChansonTriste arranged for organ with pedals now available as a download. The organ realisation plays back at 100 quarter note (crotch Show More...
Tchaikovsky’s ChansonTriste arranged for organ with pedals now available as a download. The organ realisation plays back at 100 quarter note (crotchet) beats to the minute. In a playing context a slower tempo can be considered. In the arrangement there are a number of octave transpositions (upwards) in the pedal bass part and just a small number of voicing changes to the inner parts. One of Tchaikovsky’s most popular pieces composed in 1878 for piano this arrangement for organ with pedals is in the original key of G minor. It is a ternary form ABA movement in a reflective melancholy mood. It has a regular phrase structure and the melodic line needs to be played with a singing legato. When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a broad range of dynamics. Playing the G minor in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work. There are almost hymn like characteristics in some of the chordal sections of this work reflecting the wonderful chordal writing of the composer’s vocal works. Whilst there are transpositions of his orchestral works for organ there are is no music specifically composed for organ. Close
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for organ with pedals in the key of C whilst the Ple Show More...
Serenade by R. Hoffstetter is a popular movement from a classical string quartet. The arrangement for organ with pedals in the key of C whilst the PlentyMusic sheet music realisation plays back at 94 quarter note (crotchet) beats to the minute. Improve music practice strategies by downloading this sheet music score from PlentyMusic. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with an accompaniment that needs to imitate the pizzicato sound of the strings. There is opportunity for organists to introduce more variety in the registrations than is demonstrated in the realisation. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested. The repeats which are not marked in the video score do not play in the realisation. An ideal performance piece and also appropriate for weddings because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) which are probably best omitted in the early stages of playing the movement. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly in respect to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency. The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity. Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
An intermediate level movement from a Mendelssohn organ sonata. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially Show More...
An intermediate level movement from a Mendelssohn organ sonata. This is the second movement from the Organ Sonata in A Opus 65 No.3 and is essentially a chorale or hymn much in keeping with the chorale of J. S. Bach although Mendelssohn’s harmonic language is chromatic rather than diatonic. There is more than a suggestion that the composer was well schooled in the disciplines of counterpoint and harmony. There is opportunity to slow down and pause at the ends of phrases although there is only one such marking in the sheet music score. Playing chorale arrangements like this are excellent for developing ensemble playing and good intonation. A generally quiet movement, clarinet players should be aiming for a legato in their playing. The video score/ realisation plays back at 76 quarter note beats to the minute. Mendelssohn was an extremely popular composer in England. Described as a romantic composer he leans more to the classical line of the tradition along with composers Schubert (1797 – 1828) Chopin (1810 – 1849) and Brahms (1833- 1897) rather than the more radical represented by Berlioz (1803 – 1869), Liszt (1811 – 1886), and Wagner (1813-1883). Schumann (1810 - 1856) is the composer who interestingly links the two threads. Close
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular Show More...
The piece has its origins as a song composed in the key of the key of C minor published in 1878 and is one of the composers most beautiful and popular melodies. In this arrangement a tempo of 58 quarter note (crotchet) beats to the minute has been used in the realisation. Two registrations are suggested for the playing of the melody which is best played on a swell or choir manual. Fauré as a pianist and accompanist was very much regarded as something of a metronome and not considered to be very sympathetic to singers of his songs particularly when they added subtlety and nuance at the end of phrases. It would be beneficial to spend time reading through the text for the song in translation to have an understanding of the music’s original context. As an organ piece this music is suited to being played on different occasions. Close
