October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same relevance with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be much longer whist the small notes do not sound in the recording. The editor suggests listening to many of the excellent performances of this work. A flute part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If a click track is required during the cadenza section bar 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 17:12 PM |
Views : 1250
Downloads : 0
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same relevance with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be much longer whilst the small notes do not sound in the playback the realisation. The editor suggests listening to many of the excellent performances of this work. An appropriately transposed clarinet in Bb part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 18:12 PM |
Views : 1152
Downloads : 0
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same meaning with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be longer whilst the small notes do not sound in the playback the recording. The editor suggests listening to many of the excellent performances of this work. A bassoon part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 18:12 PM |
Views : 1100
Downloads : 0
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same relevance with modern instruments and particularly the piano. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be much longer whilst the small notes do not sound. The editor suggests listening to many of the excellent performances of this work. An appropriately transposed horn in F (French horn) part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 18:12 PM |
Views : 1180
Downloads : 0
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same meaning with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be longer whilst the small notes do not sound in the playback the recording. The editor suggests listening to many of the excellent performances of this work. A violin part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 18:12 PM |
Views : 982
Downloads : 0
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly shouldn’t have the same context with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be longer whilst the small notes do not sound in the playback the recording. The editor suggests listening to many of the excellent performances of this work. A viola part is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 18:12 PM |
Views : 1196
Downloads : 0
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same meaning with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be longer whilst the small notes do not sound in the playback the recording. The editor suggests listening to many of the excellent performances of this work. A violoncello part notated in the tenor clef is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 18:12 PM |
Views : 1158
Downloads : 0
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same relevance with modern instruments especially the modern piano. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece and pianists should explore the ensemble options when opportunities arise. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be much longer. The small notes do not sound in the playback the realisation. The editor suggests listening to many of the excellent performances of this work. This version has detailed fingering in place. There are no pedal markings on the score but use of the sustaining pedal is recommended and in the edited music score fingering is placed above and below the two staves. Changing the finger on a note is a very useful technique to employ to sustain the legato when performing this music. A plain score of the work is appended to the edited music score. Close
Added: 15th December, 2017 18:12 PM |
Views : 1003
Downloads : 0
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer Show More...
October (Autumn Song) is a composition that dates from 1876 and is in ternary form (ABA) work being part of a collection of 12 pieces by the composer known as “The Seasons.” This piece requires sensitive but at the same quite controlled playing – exaggerated dynamics and articulations need to be avoided. Many older scores of this work are filled with articulation markings that possibly don’t have the same meaning with modern instruments. It is quiet melancholy composition of great beauty with some sharing of melodic material between the voices which makes it an excellent ensemble piece. Some performers particularly in the triplet passage work at the end of the sections interpret the ties rather liberally. Understand that realisation whilst quite satisfactory does not demonstrate the range of tempo variation needed for a truly convincing performance. Rubato is very applicable when performing this music. The pause mark is also not well represented in the recording as it really needs to be longer whilst the small notes do not sound in the playback the recording. The editor suggests listening to many of the excellent performances of this work. A tenor saxophone part appropriately transposed is appended to the full score. Piano accompaniments are available at tempi of (1) 63 (2) 60 (3) 58 quarter note (crotchet) beats to the minute. If an accompaniment is required with a click track in place for the cadenza section in bars 32 – 33 please advise the PlentyMusic office. Close
Added: 15th December, 2017 19:12 PM |
Views : 1178
Downloads : 0
This is an arrangement for brass quintet comprising two trumpets in Bb, horn in F (French horn), trombone and tuba of Tchaikovsky’s Neapolitan Dance Show More...
This is an arrangement for brass quintet comprising two trumpets in Bb, horn in F (French horn), trombone and tuba of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trumpet part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the players and has been well rehearsed. Individual parts for each of the instruments are appended to the full score. Close
Added: 15th March, 2019 10:03 AM |
Views : 1553
Downloads : 0
This is an arrangement for trumpet in Bb with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances Show More...
This is an arrangement for trumpet in Bb with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trumpet part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 9 and 10. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A trumpet part is appended to the full music score and a piano accompaniment is available to download. Close
Added: 15th March, 2019 11:03 AM |
Views : 1261
Downloads : 0
This is an arrangement for tuba with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act II Show More...
This is an arrangement for tuba with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the tuba part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 9 and 10. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A tuba part is appended to the full music score in the pdf downloaded a piano accompaniment is also available. Close
Added: 16th March, 2019 13:03 PM |
Views : 1135
Downloads : 0
This is an arrangement for trombone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Ac Show More...
This is an arrangement for trombone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the trombone part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A trombone part is appended to the full music score in the pdf download. Close
Added: 16th March, 2019 13:03 PM |
Views : 1086
Downloads : 0
This is an arrangement for bassoon with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act Show More...
This is an arrangement for bassoon with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realisation is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the bassoon part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A bassoon part is appended to the full music score in the pdf download. Close
Added: 16th March, 2019 14:03 PM |
Views : 1081
Downloads : 0
This is an arrangement for flute with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act I Show More...
This is an arrangement for flute with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realisation is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. There is the option of playing the repeat an octave higher than written and the first note of the flute part is only sounded on the repeat. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A flute part is appended to the full music score in the pdf download. Close
Added: 16th March, 2019 14:03 PM |
Views : 1106
Downloads : 0
This is an arrangement for tenor horn with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Show More...
This is an arrangement for tenor horn with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realisation is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the tenor horn part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 9 and 10. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A tenor horn part is appended to the full music score in the pdf download. Close
Added: 16th March, 2019 14:03 PM |
Views : 1091
Downloads : 0
This is an arrangement for alto saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances Show More...
This is an arrangement for alto saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the alto saxophone part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 10 and 11. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. An alto saxophone part is appended to the full music score in the pdf download. Close
Added: 17th March, 2019 08:03 AM |
Views : 1061
Downloads : 0
This is an arrangement for tenor saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the danc Show More...
This is an arrangement for tenor saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the tenor saxophone part is only sounded on the repeat and some performers cut out 4 beats in the link between bars 10 and 11. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A tenor saxophone part is appended to the full music score in the pdf download. Close
Added: 17th March, 2019 08:03 AM |
Views : 897
Downloads : 0
This is an arrangement for soprano saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dan Show More...
This is an arrangement for soprano saxophone with piano accompaniment of Tchaikovsky’s Neapolitan Dance also familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is very similar to that found in Tchaikovsky’s Children’s Album although the music has been arranged in 4/4 time and has a repeat whilst the piano accompaniment includes of some of the orchestral music countermelodies from Swan Lake. The tempo of the first section Allegro moderato in the realization is at 96 quarter note (crotchet) beats to the minutes and for the Molto piu mosso section the tempo is 110 quarter note beats to the minutes. Often performers choose a slower tempo for the slower section and a faster one for the faster section. The first note of the soprano saxophone part is only sounded on the repeat and some performers also cut out 4 beats in the link between bars 10 and 11. In the repeat there is additional instruction to accelerate towards the end of the movement but the music editor advises against this until the piece is known thoroughly by the soloist and well rehearsed with the accompanist. The accompanist may wish to edit the playing of the introduction by omitting the left hand chords and playing the octave lead in with separate hands or even more simply by starting at bar 5. A soprano saxophone part is appended to the full music score in the pdf download. Close
Added: 17th March, 2019 15:03 PM |
Views : 1094
Downloads : 0
This is an improver level arrangement for flute and guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III o Show More...
This is an improver level arrangement for flute and guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minutes. The voicing of the chord shapes for the acoustic guitar have been edited. For flute players who need an additional challenge there is an intermediate arrangement for the instrument with a piano accompaniment. Close
Added: 17th March, 2019 16:03 PM |
Views : 1127
Downloads : 0
This is an improver level arrangement for two acoustic guitars of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act I Show More...
This is an improver level arrangement for two acoustic guitars of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minute. The voicing of the chord shapes for the acoustic guitar have been edited. There is an alternative ending provided for Acoustic Guitar 1. Close
Added: 18th March, 2019 13:03 PM |
Views : 1101
Downloads : 0
This is an improver level arrangement for mandolin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances Show More...
This is an improver level arrangement for mandolin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minute. The voicing of the chord shapes for the acoustic guitar have been edited. There is an alternative ending provided for the mandolin player. Close
Added: 18th March, 2019 13:03 PM |
Views : 1170
Downloads : 0
This charming and tuneful piece is from Tchaikovsky’s Children’s Album Opus 39 which dates from 1878. The first section is played at a tempo of 10 Show More...
This charming and tuneful piece is from Tchaikovsky’s Children’s Album Opus 39 which dates from 1878. The first section is played at a tempo of 100 quarter note (crotchet) beats to the minute and the faster section at 120 quarter note (crotchet) beats to the minute. The melodic line needs to clearly articulated and the accompaniment played with a lightness and bounce. The melody also features in Act 3 of the composer’s ballet Swan Lake. Close
Added: 18th March, 2019 13:03 PM |
Views : 1233
Downloads : 0
This is an improver level arrangement for violin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Show More...
This is an improver level arrangement for violin and acoustic guitar of Tchaikovsky’s Neapolitan Dance familiar as a theme from one of the dances in Act III of Swan Lake. The musical material is based on the version found in Tchaikovsky’s Children’s Album Opus 39 for piano that dates from 1878. The tempo of the first section Andantino in the realisation is 100 quarter note (crotchet) beats to the minute and for the Vivace section the tempo is 120 quarter note beats to the minute. The voicing of the chord shapes for the acoustic guitar have been edited. Close
Added: 18th March, 2019 13:03 PM |
Views : 1139
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such indicative score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a flute part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 7th December, 2019 20:12 PM |
Views : 905
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such indicative score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst an oboe part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 80 (2) 84 and (3) 88 quarter note (crotchet) beats to the minute. Close
Added: 8th December, 2019 08:12 AM |
Views : 811
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such indicative score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The clarinet range is also explored in this particular arrangement. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a clarinet in Bb part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 8th December, 2019 08:12 AM |
Views : 1016
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute and the music sounds in Bb. A soprano saxophone appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 11:12 AM |
Views : 857
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute and the music sounds in Bb. A tenor saxophone appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 11:12 AM |
Views : 858
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a bassoon part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 11:12 AM |
Views : 854
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a trumpet part appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 12:12 PM |
Views : 836
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a trombone part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 18:12 PM |
Views : 907
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a horn in F (French horn) part appropriately transposed is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 18:12 PM |
Views : 737
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. Violinists may wish to try performing with a mute. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a violin part is appended to the full score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 18:12 PM |
Views : 881
Downloads : 0
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase struc Show More...
This improver level ternary form (ABA) work is from Tchaikovsky’s Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing, quality of tone and musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute whilst a plain score part is appended to the edited music score. The piano accompanist can make use of the sustaining pedal in the A section with the use of the pedal guided by the harmonic rhythm. Pedalling in other words is governed by the changing chords or harmony. There are three piano accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 18:12 PM |
Views : 822
Downloads : 0
An arrangement for flute accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is Show More...
An arrangement for flute accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase requiring a singing legato tone when performed. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. Whilst described as an improver level piece the guitar player’s part is obviously harder than the flute players. There are three guitar accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 18:12 PM |
Views : 934
Downloads : 0
An arrangement for oboeaccompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a Show More...
An arrangement for oboeaccompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase requiring a singing legato tone when performed. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. There are three guitar accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 19:12 PM |
Views : 904
Downloads : 0
An arrangement for violin accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is Show More...
An arrangement for violin accompanied by acoustic guitar of this ternary form work (ABA) from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase requiring a singing legato tone when performed. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing musical memory as repetition is a strong element. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. Whilst described as an improver level piece the guitar player’s part is obviously harder than the flute players. There are three guitar accompaniments available at tempi of (1) 88 (2) 84 and (3) 80 quarter note (crotchet) beats to the minute. Close
Added: 9th December, 2019 20:12 PM |
Views : 853
Downloads : 0
An arrangement for four clarinets in Bb and bass clarinet – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1 Show More...
An arrangement for four clarinets in Bb and bass clarinet – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing and tone quality in the melody playing. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. The score and parts can be downloaded as a one document pdf file from the website. Close
Added: 9th December, 2019 20:12 PM |
Views : 843
Downloads : 0
An arrangement for soprano, two alto, tenor and baritone saxophones – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovs Show More...
An arrangement for soprano, two alto, tenor and baritone saxophones – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing and tone quality in the melody playing. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. The score and parts can be downloaded as a one document pdf file from the website. Close
Added: 9th December, 2019 20:12 PM |
Views : 1189
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German r Show More...
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Flute players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A flute part is appended to the sheet music score. Close
Added: 31st December, 2019 16:12 PM |
Views : 712
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German r Show More...
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Oboe players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. An oboe part is appended to the sheet music score. Close
Added: 31st December, 2019 16:12 PM |
Views : 861
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German r Show More...
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Clarinet players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A clarinet in Bb part appropriately transposed part is appended to the sheet music score. Close
Added: 1st January, 2020 15:01 PM |
Views : 968
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Solo players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. An alto saxophone part appropriately transposed is appended to the sheet music score. Close
Added: 1st January, 2020 15:01 PM |
Views : 856
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Solo players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A tenor saxophone part appropriately transposed is appended to the sheet music score. Close
Added: 1st January, 2020 16:01 PM |
Views : 906
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Solo players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A soprano saxophone part appropriately transposed is appended to the sheet music score. Close
Added: 1st January, 2020 17:01 PM |
Views : 872
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Solo players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A bassoon part is appended to the sheet music score. Close
Added: 1st January, 2020 17:01 PM |
Views : 874
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German r Show More...
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Oboe players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. An English horn part appropriately transposed is appended to the sheet music score. Close
Added: 2nd January, 2020 11:01 AM |
Views : 924
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Baritone saxophone players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A baritone saxophone part appropriately transposed is appended to the sheet music score. Close
Added: 2nd January, 2020 11:01 AM |
Views : 879
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Euphonium players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A euphonium part notated in the treble clef and appropriately transposed is appended to the sheet music score. Close
Added: 2nd January, 2020 12:01 PM |
Views : 826
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Tenor horn players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A tenor horn part notated in the treble clef and appropriately transposed is appended to the sheet music score. Close
Added: 2nd January, 2020 12:01 PM |
Views : 714
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Trombone players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A trombone part is appended to the sheet music score. Close
Added: 2nd January, 2020 12:01 PM |
Views : 862
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Trumpet players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A trumpet in Bb part appropriately transposed is appended to the sheet music score. Close
Added: 2nd January, 2020 13:01 PM |
Views : 831
Downloads : 0
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the Germa Show More...
None but the Lonely Heart originates as a song and dates from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment and audition piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Tuba players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. There is a considerable amount of score detail and it is an excellent piece for developing control and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A tuba part is appended to the sheet music score. Close
Added: 2nd January, 2020 13:01 PM |
Views : 853
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German r Show More...
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Viola players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A viola part is appended to the sheet music score. Close
Added: 2nd January, 2020 13:01 PM |
Views : 885
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German r Show More...
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Cellists should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1)92 (2)88 (3)84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A violoncello part is appended to the sheet music score. Close
Added: 2nd January, 2020 17:01 PM |
Views : 825
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German r Show More...
None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which players need to take into consideration during a performance. Musically the falling minor 7th in the melody is characteristic as is the chromatic harmony which features a number of half-diminished 7th chords. Violin players should be aiming for a legato in their playing ensuring that they feature contrasting dynamics in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. Accompanists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 92 quarter notes or crotchet beats to the minute. There are accompaniments available playing at (1) 92 (2) 88 (3) 84 quarter note (crotchet) beats to the minute from the PlentyMusic website. A violin part is appended to the sheet music score. Close
Added: 2nd January, 2020 18:01 PM |
Views : 826
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute and two Show More...
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the flute soloist to develop both control and quality of tone. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 92 (2) 90 (3) 88 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a both considerable musical and emotional range which suggests that this is an excellent assessment piece. Close
Added: 2nd January, 2020 19:01 PM |
Views : 907
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe and two a Show More...
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 92 (2) 90 (3) 88 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece. Close
Added: 2nd January, 2020 20:01 PM |
Views : 1014
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola and two Show More...
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 92 (2) 90 (3) 88 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece. Close
Added: 2nd January, 2020 21:01 PM |
Views : 995
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin and two Show More...
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin and two acoustic guitars keeps close to the composer’s original version of the song and is an excellent piece for the soloist to develop both control and quality of tone in their playing. The accompaniment is played by two acoustic guitars with the off-beat or syncopated chords in the acoustic guitar 2 accompaniment adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the guitar duo accompaniment is available playing at (1) 92 (2) 90 (3) 88 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music and the music editor suggests that this is an excellent assessment piece. Close
Added: 2nd January, 2020 21:01 PM |
Views : 1033
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola accompan Show More...
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for viola accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the viola player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute as an mp3 download. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece. Close
Added: 3rd January, 2020 08:01 AM |
Views : 1006
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin accompa Show More...
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for violin accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the violin player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adding both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece. Close
Added: 3rd January, 2020 08:01 AM |
Views : 989
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe accompani Show More...
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for oboe accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the oboe player to develop both control and quality of tone in their playing. The accompaniment comprises marimba and acoustic guitar with off-beat or syncopated chords adds both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece. Close
Added: 3rd January, 2020 09:01 AM |
Views : 1004
Downloads : 0
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute accompan Show More...
None but the Lonely Heart originates as a song dating from 1869 and comes from the composer’s Opus 6 collection. This arrangement for flute accompanied by marimba and acoustic guitar keeps close to the composer’s original version of the song and is an excellent piece for the flute player to develop both control and quality of tone in their playing. The accompaniment comprising marimba and acoustic guitar with off-beat or syncopated chords adds both intensity and urgency to the music. The suggested phrasing is determined by the shape of the melody and the punctuation of the poetry. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. Individual parts are appended to the full sheet music score and the marimba and acoustic guitar accompaniment is available playing at (1) 88 (2) 90 (3) 92 quarter note (crotchet) beats to the minute as an mp3 download. For a piece of just 54 bars in length there is a considerable musical and emotional range in the music with the music editor suggesting that this is both an excellent performance and assessment piece. Close
Added: 3rd January, 2020 09:01 AM |
Views : 966
Downloads : 0
Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. For the pianist the challenge is to co Show More...
Although only 54 bars long the piece has great emotional and musical range making it an ideal assessment piece. For the pianist the challenge is to communicate the melody of the song with as much of the intended accompaniment as possible. In the transcription there has been some necessary editing of the chords and the technique of crossing hands will need to be explored by the keyboard player to ensure legato playing of the melody. The repeating elements add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which the pianist will need to take into consideration during a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing controlled and quality of tone in solo playing. Pianists will need to make use of the sustaining pedal whilst the off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Songs are understandably often arranged in different keys and two versions are available in the pdf download the first in Eb and the second in D. Close
Added: 3rd January, 2020 14:01 PM |
Views : 728
Downloads : 0
Although only 54 bars long the piece has great emotional and musical range making it a challenging performance piece. The melody needs to be played on Show More...
Although only 54 bars long the piece has great emotional and musical range making it a challenging performance piece. The melody needs to be played on the swell or choir manual and the accompaniment using a quiet registration on the great. The pedal part can also be coupled to the great. In any transcription or score reduction compromises have to be made. The repeating elements do add unity to the song which has strong rhythmic and melodic shapes. Whilst there is a clearly evident phrase structure there are some overlapping phrases and the occasionally musical link which the organist will need to take into consideration in a performance. This arrangement keeps close to the composer’s original version of the song. There is a considerable amount of score detail and it is an excellent piece for developing a controlled tone in solo playing. The off-beat or syncopated chords in the accompaniment add to the intensity of the music. The realisation plays back at a tempo of 90 quarter notes or crotchet beats to the minute. None but the Lonely Heart originates as a song dating from 1869 coming from the composer’s Opus 6 collection. The poetry for the original song was written by the German romantic poet Goethe and subsequently translated into Russian. The music editor recommends reading a translation of the text although the clear message in the poem is an expression of loneliness. Close
Added: 17th August, 2020 12:08 PM |
Views : 566
Downloads : 0
