Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements which were intended to be performed as a continuous mov Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements which were intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement has a clear two beats to the bar feel to it. A flute part is appended to the full music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1855
Fernando Sor's L'Encouragement Opus 34 , originally for guitar duet, comprises three movements which were intended to be performed as a continuous mo Show More...
Fernando Sor's L'Encouragement Opus 34 , originally for guitar duet, comprises three movements which were intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement has a clear two beats to the bar feel to it. An oboe part is appended to the full music score. Close
Added: 27th July, 2017 11:07 AM |
Views : 2079
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement althou Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. The appended score has the clarinet in Bb part appropriately transposed whilst the full score copy is notated with the clarinet at sounding pitch. Close
Added: 27th July, 2017 11:07 AM |
Views : 1988
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement althou Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA(ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A bassoon part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1986
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement althou Show More...
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. The appended score has the solo soprano saxophone part appropriately transposed whilst the full score copy is notated with the soprano saxophone at sounding pitch. Close
Added: 27th July, 2017 11:07 AM |
Views : 2088
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement althou Show More...
Fernando Sor's L'Encouragement Opus 34 originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA(ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. The full score copy is notated with the alto saxophone at sounding pitch and the appended score has the solo alto saxophone part appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 2027
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfills the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. Both the full score and appended solo tenor saxophone parts are notated at transposed pitch. Close
Added: 27th July, 2017 11:07 AM |
Views : 2016
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement altho Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar.†Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. In this piano arrangement some voicing and octave changes have been made to add clarity and generally make the texture more pianistic and whilst not marked on the score copy the sustaining pedal should be used. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. Close
Added: 27th July, 2017 11:07 AM |
Views : 2381
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A trombone part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1922
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A violin part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1858
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A viola part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1923
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous Show More...
Fernando Sor's L'Encouragement Opus 34, originally for guitar duet, comprises three movements was originally intended to be performed as a continuous movement although its three sections can easily be performed as separate movements and this is how they are presented on the www.plentymusic.co.uk website. The music dates from 1828 and consequently belongs to the romantic era and is a very good example of salon or drawing room music intended for small audiences at home rather than the concert hall. Fernando Sor, was a Spanish composer, born into a military family who has often been to as referred to as the Beethoven of the guitar. Whilst not considered to be a great composer he did nevertheless compose many attractive works that are suitable for performance in arrangements such as this. The piano essentially fulfils the role of the second guitar part with some additions to make the part more pianistic. Where appropriate barring and note values have been clarified as much for the eye than for musical reasons. Cantabile the first movement from L'Encouragement is in ABA (ternary) form although the repeat is a varied repeat. The realisation has a tempo of 54 dotted quarter note beats (crotchet beats ) to the minute and the musical content combines a pastoral feel with a quite stately tempo. The melody line needs to be delivered with a singing legato whilst the movement should be played communicating a sense of two beats to the bar. A cello part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 2014
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation and only one note in the melody has been transposed an octave upwards. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A flute part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1853
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. The appended score has the solo clarinet in Bb part appropriately transposed whilst the full score copy is notated with the clarinet at sounding pitch. Close
Added: 27th July, 2017 11:07 AM |
Views : 1928
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. Whilst the full score copy is notated with the alto saxophone at sounding pitch the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 1974
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic m Show More...
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. Whilst full score copy is notated with the soprano saxophone at sounding pitch the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 1892
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A bassoon part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1869
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic m Show More...
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A violin part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1896
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic m Show More...
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A viola part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1963
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic m Show More...
Fernando Sor's Theme and Variations from L'Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that features in this appealing work. A cello part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1848
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic Show More...
Fernando Sor's Theme and Variations from L' Encouragement is possibly more classical in spirit certainly from the thematic point of view. The melodic material does need to be clearly articulated whilst harmonically it does follow the pattern of the cantabile movement in that there is a change to the tonic minor key. The tempo of each variation can in performance be considered as a separate movement and the tempo at which the music sections are played will be very much determined by the technical facility of the solo instrument player. One of the technical challenges is to articulate the triplet figurations with clarity. This Theme and Variations has an extended coda which can lead to a repeat of theme if it is being performed as a separate movement. As is often the case in variations the musical intensity increases as the movement progresses. The realisations in their very nature tend to lack the nuance of a performance and tend to be on the rushed side although they provide an excellent means for auditioning pieces. The repeats are not played in the realisation. It would be wise to spend time listening to guitar duet versions to appreciate the musical range that feature in this appealing work. Close
Added: 27th July, 2017 11:07 AM |
Views : 1935
The Waltz was a popular musical form during the romantic period favoured particularly in the salon / drawing room context. The movement needs to move Show More...
The Waltz was a popular musical form during the romantic period favoured particularly in the salon / drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the piece. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A flute part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1869
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and the small notes are best omitted when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and the music editor suggests that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. An oboe part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1870
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. Whilst the full score copy is notated with the soprano saxophone at sounding pitch the appended saxophone part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 1928
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and the small notes are probably best omitted when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and the music editor suggests that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. Whilst the full score copy is notated with the clarinet in Bb at sounding pitch the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 1821
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and the small notes are probably best omitted when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and the music editors suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. Whilst the full score copy is notated with the alto saxophone at sounding pitch the appended solo part has been appropriately transposed. Close
Added: 27th July, 2017 11:07 AM |
Views : 1941
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A tenor saxophone part appropriately transposed is appendedto the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1953
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and the music editor suggests leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and the suggestion is that it should be played at a a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A bassoon part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1854
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 60 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. Most of the musical content from the guitar duet version remains although some voicing has been made made more appropriate for the piano. There are no repeats in the realisation. Close
Added: 27th July, 2017 11:07 AM |
Views : 2221
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 53 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A cello part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1865
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A violin part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1800
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A viola part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1933
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move Show More...
The waltz was a popular musical form during the romantic period favoured particularly in the salon or drawing room context. The movement needs to move along with a clear one in a bar feel and I would suggest leaving out the small notes when learning the movement. The realisation tempo is at a (considered) 56 dotted quarter notes to the minute and I would suggest that it should be played at a faster tempo of at least 66 dotted quarter (crotchets) notes to the minute. Played at a faster tempo the players will need to possess very good performance techniques for their individual instruments. There are no repeats in the realisation. A trombone part is appended to the full score. Close
Added: 27th July, 2017 11:07 AM |
Views : 1877
This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers t Show More...
This is a very appealing ensemble piece, challenging to play both from the pitch range the solo player has to manage and the opportunities it offers to explore tonal range of an instrument. Triplets are shown in the solo instrument part but only in the first two bars of the guitar accompaniment. This arrangement is intended to be performance piece and although there has been some re-scoring of the solo part to make it just a little more playable. Not all the intended ornaments are included in the score to enable the focus to be on playing the melody. The original Paganini version as one would expect has some very challenging moments but is well worth listening to particularly in its original form played on the violin. The limitations of the staff notation system are challenged particularly in the closing cadenza section at bar 45 which needs to be played with a clear sense of pulse being communicated. Paganini is a unique and quite captivating figure in the history of music who was a major influence on many romantic composers influencing both performance practice and also composition. He was the outstanding violinist of his age and in addition was an excellent guitarist although his performances on this instrument were shared with friends rather than the public. Individual parts are appended to the full score Close
Added: 23rd February, 2018 08:02 AM |
Views : 2739
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