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Joaquin Malats Serenata Española from his Impressions of Spain. This is a sunny piece that features many of the idioms and stylistic characteristics Show More...
Joaquin Malats Serenata Española from his Impressions of Spain. This is a sunny piece that features many of the idioms and stylistic characteristics that are typical of Spanish art music in the late 19th century. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the G scale in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggesting images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This is a sunny piece that features many of the idioms and stylistic characteristics that are typical of Spanish art music in the late 19th century. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 112 quarter note or crotchet beats to the minute although there is occasionally speeding ups (animando) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the clarinet in Bb part to keep to the instruments more appealing range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Spanish has been used to describe the score detail in the pdf sheet music download Apart from approaching the playing of the score with a lightness in the hands, Pianists, when playing the accompaniment, will need to make use of the sustaining pedal although its use is not indicated in the sheet music score. Piano accompaniments are in place & can be downloaded as mp3 files from the PlentyMusic website. They playback at 104, 108, 112, 116 & 120 quarter note beats to the minutes. A clarinet part appropriately transposed is appended to the full score. Close
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Joaquin Malats Serenata Española arr. flute & piano (from his Impressions of Spain). This is a sunny piece that features many of the stylistic charac Show More...
Joaquin Malats Serenata Española arr. flute & piano (from his Impressions of Spain). This is a sunny piece that features many of the stylistic characteristics of Spanish music that are typical of Spanish art music in the late 19th century. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in music composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the G scale in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggesting images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This is a sunny piece that features many of the idioms and stylistic characteristics that are typical of Spanish art music in the late 19th century. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there is occasionally speeding ups (animando) and slowing downs particularly at the end of phrases. There are some octave transpositions in the flute part to utilise the most appropriate range of the instrument. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the flute part to keep to the instruments more appealing range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Spanish has been used to describe the score detail in the pdf sheet music download Apart from approaching the playing of the score with a lightness in the hands, Pianists, when playing the accompaniment, will need to make use of the sustaining pedal although its use is not indicated in the sheet music score. Piano accompaniments are in place & can be downloaded as mp3 files from the PlentyMusic website. They playback at 104, 108, 112, 116,120 & 124 quarter note beats to the minutes. Close
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Joaquin Malats Serenata Española from his Impressions of Spain arr. violin & piano. This is a sunny piece that features many of the idioms and styli Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. violin & piano. This is a sunny piece that features many of the idioms and stylistic characteristics that are typical of Spanish art music in the late 19th century. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. There is opportunity to explore articulations in a performance with staccato notes used particularly in the accompaniment. Short notes imitating the sound of the guitar are quite appropriate in this piece. Chords can be rolled again imitate the sound of playing chords on the guitar. The music editor has not indicated staccato notes in the music score mainly because it is challenging to be consistent in such matters especially with music that does benefit from spontaneity. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 112 quarter note or crotchet beats to the minute although there are occasionally speeding ups (animando) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the soprano saxophone part to keep to the instruments best tonal range range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Piano accompaniments are in place & can be downloaded as mp3 files from the PlentyMusic website. They playback at 104, 108, 112, 116 & 120 quarter note beats to the minutes. A solo instrument part is also appended to the full score available as part of the pdf download. Close
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Joaquin Malats Serenata Española from his Impressions of Spain arr. cello & piano. A sunny piece that features many stylistic characteristics typical Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. cello & piano. A sunny piece that features many stylistic characteristics typical of Spanish music. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. There is opportunity to explore articulations in a performance with staccato notes used particularly in the accompaniment. Short notes imitating the sound of the guitar are quite appropriate in this piece. Chords can be rolled again to imitate the sound of playing chords on the guitar. The music editor has not indicated staccato notes in the music score mainly because it is challenging to be consistent in such matters especially with music that does benefit from spontaneity. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 112 quarter note or crotchet beats to the minute although there are occasionally speeding ups (animando) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the soprano saxophone part to keep to the instruments best tonal range range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Piano accompaniments are in place & can be downloaded as mp3 files from the PlentyMusic website. They playback at 104, 108, 112, 116 & 120 quarter note beats to the minutes. A solo instrument part is also appended to the full score available as part of the pdf download. Close
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Joaquin Malats Serenata Española from his Impressions of Spain arr. basson & piano. A sunny piece that features many stylistic characteristics typica Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. basson & piano. A sunny piece that features many stylistic characteristics typical of Spanish music. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. There is opportunity to explore articulations in a performance with staccato notes used particularly in the accompaniment. Short notes imitating the sound of the guitar are quite appropriate in this piece. Chords can be rolled again to imitate the sound of playing chords on the guitar. The music editor has not indicated staccato notes in the music score mainly because it is challenging to be consistent in such matters especially with music that does benefit from spontaneity. Listen to performances and use your ears is the advice. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 112 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the bassoon part are in place to keep to the instruments best tonal range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Piano accompaniments are in place & can be downloaded as mp3 files from the PlentyMusic website. They playback at 104, 108, 112, 116 & 120 quarter note beats to the minutes. A bassoon part is also appended to the full score available as part of the pdf download. Close
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Joaquin Malats Serenata Española from his Impressions of Spain arr. trombone & piano. A sunny piece that features many stylistic characteristics typi Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. trombone & piano. A sunny piece that features many stylistic characteristics typical of Spanish music. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. There is opportunity to explore articulations in a performance with staccato notes used particularly in the accompaniment. Short notes imitating the sound of the guitar are quite appropriate in this piece. Chords can be rolled again to imitate the sound of playing chords on the guitar. The music editor has not indicated staccato notes in the music score mainly because it is challenging to be consistent in such matters especially with music that does benefit from spontaneity. Listen to performances and use your ears is the advice. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 112 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the bassoon part are in place to keep to the instruments best tonal range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Piano accompaniments are in place & can be downloaded as mp3 files from the PlentyMusic website. They playback at 104, 108, 112, 116 & 120 quarter note beats to the minutes. A trombone part is also appended to the full score available as part of the pdf download. Close
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Joaquin Malats Serenata Española from his Impressions of Spain arr. tenor saxophone & piano. A sunny piece that features many characteristics typical Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. tenor saxophone & piano. A sunny piece that features many characteristics typical of the Spanish style. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. There is opportunity to explore articulations in a performance with staccato notes used particularly in the accompaniment. Short notes imitating the sound of the guitar are quite appropriate in this piece. Chords can be rolled again to imitate the sound of playing chords on the guitar. The music editor has not indicated staccato notes in the music score mainly because it is challenging to be consistent in such matters especially with music that does benefit from spontaneity. Listen to performances and use your ears is the advice. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 112 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the bassoon part are in place to keep to the instruments best tonal range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Piano accompaniments are in place & can be downloaded as mp3 files from the PlentyMusic website. They playback at 104, 108, 112, 116 & 120 quarter note beats to the minutes. A tenor saxophone part is appended to the full score available as part of the pdf download. Close
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Joaquin Malats Serenata Española from his Impressions of Spain arr. string orchestra or string ensemble comprising violins 1, violins 2, violas, cel Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. string orchestra or string ensemble comprising violins 1, violins 2, violas, celli & double bass. Individual string parts are appended to the full sheet music score in the pdf download. #sheetmusic download link: coming soon Use your free credit to download the score and parts. A sunny piece that features many characteristics typical of Spanish music. There are over 20 pages of music in the download! The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. There is opportunity to explore articulations in a performance with staccato notes used particularly in the accompaniment. Short notes imitating the sound of the guitar are quite appropriate in this piece. Chords can be rolled again to imitate the sound of playing chords on the guitar. The music editor has not indicated staccato notes in the music score mainly because it is challenging to be consistent in such matters especially with music that does benefit from spontaneity. Listen to performances and use your ears is the advice. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the bassoon part are in place to keep to the instruments best tonal range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Close
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Joaquin Malats Serenata Española from his Impressions of Spain arr. mandolin, 2 classical guitars, cello playing pizzicato & upright bass. Individual Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. mandolin, 2 classical guitars, cello playing pizzicato & upright bass. Individual instrument parts are appended to the full sheet music score in the pdf download. Use the signing up free credit facility to download the score and parts. A sunny piece that features many characteristics typical of Spanish music. There is no reason why the parts cannot be doubled to make this an exciting ensemble piece. All instruments playing in this arrangement create the sound by the plucking the strings. In this arrangement mandolin players are required to tremolo rather than trill on the long notes. Remember that the classical guitar and double bass are transposing instruments sounding an octave lower than written in the music score. The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored. Where there are challenges with stretches in the guitar & cello parts with more than one note being played the instrumentalist needs to chose or be advised one the most appropriate option. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking The music in this arrangement has been transposed from the key of G minor to A minor. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key of A in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing most errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement and instrument ranges are often challenged. Close
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Joaquin Malats Serenata Española from his Impressions of Spain arr. 4 acoustic guitars & bass guitar Individual instrument parts are appended to the Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. 4 acoustic guitars & bass guitar Individual instrument parts are appended to the full sheet music score in the pdf download. #sheetmusic & accompaniments download link: coming soon Use the signing up free credit facility to download the score and parts & possibly an accompaniment. A sunny piece that features many characteristics typical of Spanish music. There is no reason why the parts cannot be doubled to make this an exciting ensemble piece. There are many times of guitar that can be incorporated into a playing group making this a great learning piece for so many guitarists. Whatever guitar types are available can be used & there is no reason why a mix of guitars cannot be used with classical, folk, steel, and electric guitars being substituted. As a concert piece classical guitars supported by either an acoustic or electric bass instrument would be ideal. Scores can be printed out with 2 pages per sheet offering an opportunity to save on page turning. Accompaniments are in place enabling the guitar 1 part to practice and play as part of an ensemble. They play at 104, 108,112,116 & 120 bpm. There is a 4 bar click track to prepare players for this ensemble experience. All instruments playing in this arrangement create the sound by plucking the strings. In this arrangement the long trill in the guitar 1 has been omitted simply because a long trill is hard to sustain on an acoustic instrument. Remember that the classical guitar and bass guitar are transposing instruments sounding an octave lower than written in the music score. The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored particularly the guitar 2 & 3 parts. Where there are challenges with stretches in the guitar parts with more than one note being played the instrumentalist needs to chose or be advised on the most appropriate option. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking The music in this arrangement has been transposed from the key of G minor to A minor. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the scale in the sounding key of A in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing most errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. Close
