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An intermediate level arrangement for trumpet in Bb with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s int Show More...
An intermediate level arrangement for trumpet in Bb with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses. The PlentyMusic video sheet music score plays back at 36 dotted quarter notes or crotchet beats to the minute. Improve music practice routines with PlentyMusic piano accompaniments playing back at 32, 34, 36, 38, 40 & 42 dotted quarter note or crotchet beats to the minute which are available from the PlentyMusic website. In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score. The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection. The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339. As there is a reduction in the musical texture some of the original musical content has been omitted. The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work. This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
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An intermediate level arrangement for violin with piano accompaniment of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has b Show More...
An intermediate level arrangement for violin with piano accompaniment of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses. The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute. Piano accompaniments are available playing back at 32, 34, 36, 38, 40 and 42 dotted quarter note or crotchet beats to the minute are available from the PlentyMusic website. Violinists need to aiming to play with as beautiful a legato as possible aiming to phrase the music to communicate the beauty of the melodic line. This is also an excellent movement for players to work at improving tonal quality and tonal range in their playing. A movement that is quite long in respect to playing time but the fact that the melody is shared does enable each of the players to prepare for their solos. In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score. The oboist shares the melody with the piano and there is no doubling of parts The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection. The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339. As there is a reduction in the musical texture some of the original musical content has been omitted. The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work to study the breathing and phrasing of the singers. This is also an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are additionally a strong feature. Close
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An intermediate level arrangement for clarinet in Bb with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s in Show More...
An intermediate level arrangement for clarinet in Bb with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses. The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute. Improve music practice routines by using PlentyMusic piano accompaniments playing back at 32, 34, 36, 38, 40 and 42 dotted quarter note or crotchet beats to the minute available from the PlentyMusic website. In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score. The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection. The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339. As there is a reduction in the musical texture some of the original musical content has been omitted. The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work. This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
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An intermediate level arrangement for oboe with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention h Show More...
An intermediate level arrangement for oboe with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses. The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute. Piano accompaniments are available playing back at 32, 34, 36, 38, 40 and 42 dotted quarter note or crotchet beats to the minute are available. In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score. The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection. The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339. As there is a reduction in the musical texture some of the original musical content has been omitted. The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work. This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
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An intermediate level arrangement for flute with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention h Show More...
An intermediate level arrangement for flute with piano accompaniment of Mozart’s Laudate Dominum which dates from 1780. The arranger’s intention has been to prepare a performance piece with the melody accompanied by the piano sounding arpeggiated chords and bass. This is classical music in the truest of senses. The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute. Piano accompaniments are available playing back at 32, 34, 36, 38 40 and 42 dotted quarter note or crotchet beats to the minute are available. Flautists need to aiming to play with a beautiful legato, planning their breathing carefully and aiming to phrase the music to communicate the beauty of the melodic line. Additionally this is an excellent movement for flautists to work at improving tonal quality and tonal range in their playing. In the solo instrument with piano accompaniment arrangement the hidden empty staves option has used simply to reduce the number of pages required in printing the score. The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece needed for a time of reflection. It is quite a long piece to play but sections where the piano has the melody gives the flautist the time and opportunity to prepare. The full title of the work by Mozart is Laudamus Dominum omnes gentes from Vesperae solemnes de confessor K.339 As there is a reduction in the musical texture some of the original musical content has been omitted. The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work to study the breathing and phrasing of the singers. This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
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An instrumental arrangement for intermediate level organ of Mozart’s Laudate Dominum from the Veperae solemnise de Confessore K.339 which dates from Show More...
An instrumental arrangement for intermediate level organ of Mozart’s Laudate Dominum from the Veperae solemnise de Confessore K.339 which dates from 1780. The arranger’s intention has been to prepare a performance piece containing the melody, the arpeggiated chordal accompaniment and bass line. This is classical music in its truest sense. The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute . The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece where reflection is appropriate. As there is a reduction in the musical texture as some of the musical content has been omitted. As a movement lasting about 4 minutes at the suggested tempo players need to be aiming to be playing consistently. A playing approach where two beats in the bar is communicated rather than two groups of three is suggested. Vocal performances do tend to be performed at a slower tempo than those played by instruments. Vocal models have been used for an interpretation of the ornaments in the realisation. They can of course be interpreted differently although consistency does need to prevail in a performance. The ornaments have been written out in full in the video sheet music score which can be referenced on our YouTube channel if there is a need for clarification. The piano and organ versions of the arrangement have slightly different bass lines simply reflecting the practicalities of the instrument. The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work. This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
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An instrumental arrangement for intermediate level piano of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has been to prepar Show More...
An instrumental arrangement for intermediate level piano of Mozart’s Laudate Dominum dating from 1780. The arranger’s intention has been to prepare a performance piece containing the melody, the arpeggiated chordal accompaniment and bass line. This is classical music in its truest sense. The realisation plays back at 36 dotted quarter notes or crotchet beats to the minute . The text derived from the psalms suggests a prayer context which makes this an appropriate performance piece for reflection. Laudate Dominum is a movement from the Veperae solemnise de Confessore K.339 As there is a reduction in the musical texture some of the musical content has been omitted. The intention of the music editor has been to prepare an arrangement which contains the melody, the arpeggiated chordal accompaniment and bass line. There is the option of exploring the texture more fully with the addition of octaves in the section from bar The realisation plays back at 36 dotted quarter note or crotchet beats to the minute. A playing approach where two beats in the bar is communicated rather than two groups of three is suggested. Vocal performances do tend to be performed at a slower tempo than those that are instrumental. In the piano version the original contexts are indicated in the score which should be a helpful assist in interpreting and understanding the music. Vocal models have been used for an interpretation of the ornaments in the realisation. The trills can of course be interpreted differently although consistency does need to prevail in a performance. The ornaments have been written out in full in the video sheet music score which can be referenced on our YouTube channel if there is a need for clarification. The piano and organ versions of the arrangement have slightly different bass lines each reflecting the practicality of the instrument. The rhythms of the melody are determined very much by the patterns of the latin text and it would sensible for instrumentalists to be familiar with a recording or two of the original version of the work. This is an excellent piece to study to see how the composer resolves dissonance and makes use the circle of fifths in his harmonic choices. Mozart’s approach to composition is always very disciplined and studied but at the same time musical ideas are always expressed originally and imaginatively. Appoggiaturas (leaning notes) are also a strong feature. Close
