Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opu Show More...
Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. His Opus 20 Sonatinas are well worth exploring. A purposeful and dynamic intermediate level movement for solo piano. The repeats do not playback in the realisation. Clarity in the articulation of the music achieved by shortening some of the notes and an increasing the dynamics. Smorzando translates as dying away. The realisation plays back at 116 quarter note (crotchet) beats to the minute and Allegro is the indicated tempo marking in the sheet music score. Whilst musical ideas need to be clearly articulated there should not be exaggeration in the playing. There is opportunity to practice crossing over of hands. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the articulation of notes but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but not too many! Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement does suggest more romantic than classical music. Dussek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score whilst the edited music score is available for one credit. Close
Added: 16th July, 2021 10:07 AM |
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Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s orig Show More...
Kirchner’s trio arrangements of Schumann's 6 Studies in Canon are an additional exploration of the textural and timbral element of Schumann’s original writing. The trio realisation plays back at 72 quarter note (crotchet) beats to the minute. The tempo indication is to play the movement “Not too quickly” which be played in quite a broad tempo range. In the video score, which can be found by clicking the YouTube link on the PlentyMusic home page, the ornaments have been written out to add clarity to what often is an ambiguous area. The PlentyMusic solution is not intended to be prescriptive but the suggestions are based on the best of current performance practice. The ornaments can be omitted and this is probably sensible when the movement is first being studied. Accompaniments are available from the PlentyMusic website in mp3 format that enable the clarinet in A player to explore the movement as an ensemble piece. Recorded at 256kbps quality they play back at 64, 68, 72, 76 and 80 quarter note beats to the minute. The rhythmic detail requires some attention particularly with the tied notes across the bar line creating what are syncopated patterns. Pianists may well make of use the sustaining pedal, particularly in the section from bar 25, although its use is not indicated in the sheet in the sheet music score. Schumann’s 6 Studies in Canon Opus 56 exist in several arrangements for many different instrument combinations and are well worth exploring particular as an introduction to chamber music playing. Close
Added: 11th May, 2021 10:05 AM |
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A very familiar piano piece known as “Für Elise” and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form. In Show More...
A very familiar piano piece known as “Für Elise” and sometimes described as Bagatelle in A minor WoO 59 although it is actually in rondo form. Interestingly it is a piece that was not published until 40 years after the composer’s death. As a popular piece with some sections invitingly straightforward and others more challenging to play it is a movement that is frequently played badly. Counting and communicating the beats to the bar particularly in the tricky octave sections is essential if the timing is to be accurate. The realisation is lacking in tonal contrast. The movement needs to be played with a lightness in the hands which means that it shouldn’t be played too loudly. The performer needs to aim to communicate the simplicity of the music which actually is quite a rare quality in Beethoven’s music. The realisation is a little bit stiff and lacks fluidity especially in the statement and of the opening motif/shape and its many repetitions. The player has the opportunity to linger a little more than is demonstrated in the playback whilst always suggesting a one beat to the bar feel in the music. The music editor suggests the use the sustaining pedal and its use is indicated in the first section of the sheet music score. The bass line from bar 81 is an opportunity for pianists to use different fingers on the repeating notes and the music editor suggests the players write in their own fingering choices. For those wanting clarity on how to play the turn in bar 51 the music editor suggests looking at the video score on our YouTube channel. Click the link on the home page of the website. The music editor has not made use of repeat signs which is an option that could have been used in the first part of the movement
Beethoven expanded the musical forms of the classical period. He also is an important link between the classical and the subsequent romantic age. As a composer he was especially interested in process and the exploration of musical ideas. Für Elise is also a romantic work in the sense that it invites a strong emotional response from both players and listeners. Close
Added: 18th June, 2020 12:06 PM |
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This is a short concentrated movement having a lightness of mood often associated with final movements of musical works in the classical period. The m Show More...
This is a short concentrated movement having a lightness of mood often associated with final movements of musical works in the classical period. The melodic material is both appealing and chromatic scale passages can be described as transition preparing the way for a return to the opening theme. The final 12 bars can be described as a coda or closing section. The realization plays back at a tempo of 80 dotted quarter notes beats (dotted crotchet) to the minute. A lightness in the hands is essential to play this music at tempo. As an adult player revisiting a student piece it becomes much clearer what two techniques need to be practiced in order to become a competent keyboard player. Firstly, thumb under technique and fourth finger over technique (encouraged by practice of scales). Secondly, changing the finger on a repeating note encourages a lightness in the hands when playing music at this tempo. There is an edited sheet music score available which has suggested fingering available as a free score from the PlentyMusic website. A plain sheet music score is also appended. This particular movement is also excellent for exploring the full range of the piano. Friedrich Kuhlau (1786 – 1832) was a Danish composer and pianist of the late Classical and early Romantic time who along with a group of composers that includes Muzio Clementi (1752 -1832), Jan L. Dussek (1760 – 1812) and others produced piano music that is has become valued repertoire for the developing pianist and much of it has been used for teaching purposes. Close
Added: 31st May, 2020 10:05 AM |
Views : 919
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This is a piece possessing great melodic beauty and players should understand that the melody is the main musical focus in a performance. This is an A Show More...
This is a piece possessing great melodic beauty and players should understand that the melody is the main musical focus in a performance. This is an Adagio movement and pianists/keyboard players should avoid playing the movement too quickly. Sadly, much of this composer's music was lost when Napoleon invaded Venice in 1796 and for the music editor this composer has been a recent discovery. The trills begin on the note whilst the spread chord does not sound as a spread chord in the in the realisation. There are some rhythmic options when playing the melody given in ossia staves. Keyboard players have wish to add additional ornaments but do ensure that these do not detract from the beauty of the melody. Close
Added: 29th January, 2018 13:01 PM |
Views : 1497
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Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was Show More...
Galuppi was an Italian composer very much associated with the city of Venice and in his life time was known particularly for his comic operas. He was a fine keyboard player and as a composer is associated with the “style galant” movement which was an important artistic movement in the 19th century. As a result of Napoleon’s invasion of Venice in 1797 many of the composer’s manuscripts were lost. This piece that has charm and beauty reminiscent of a slow movement from a Mozart keyboard sonata. The ornaments comprise acciaccaturas (crushed notes) appoggiaturas (leaning notes) mordents and trills. The mordent is a simple note, note above, repeat of note device whilst the trills beginning on the note are longer and need to played so that the symmetry and shape of the music is maintained. There are some trills that start on the note above but these are indicated in the score. Understand that no two performers play the ornaments in the same way. A further complication is the same ornament may actually be played differently in a performance or recording and on the playing of the repeat sections additional ornaments can be added at the player’s discretion. The best advice is that if some of the ornaments are difficult to deliver leave them out but be consistent in your approach. The sheet music download comprises both a performance score and an appended realisation/recording score so as to enable players to understand how the ornaments are played. In time, when players have an understanding of the style of this music they may well want to revise and even expand on how the ornaments are played. The piano melody does have score detail relating to articulation. The tempo of the realisation is 50 quarter note (crotchet) beats to the minute and whilst the repeats are indicated in the scores they are not played in the recording. Pianists may wish to make use of the sustaining pedal although this also has not been indicated in the scores. Close
Added: 18th December, 2017 09:12 AM |
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A piece that possesses a haunting beauty written by a composer who knew C. P. E. Bach and who in 1794 settled in Moscow. Described as a sonata there Show More...
A piece that possesses a haunting beauty written by a composer who knew C. P. E. Bach and who in 1794 settled in Moscow. Described as a sonata there are recordings featuring both the harpsichord and the piano. A tempo of 80 quarter note beats to the minute has been used in the realisation although the tempo needs to slow down at the approach to cadences. Quite clearly it is impossible to evidence how this music was performed in its own day but the structure would suggest that there would be tempo variations between the sections. The opening 8 bar phrase is repeated three times exploring the range of the instrument before the first of several quasi fantasia / cadenza sections which express music a different mood and benefit from being played at a slightly slower tempo. Performance conventions and articulations clearly differ between the piano and the harpsichord and the music editor suggests listening to different recordings and possibly adding some appropriate ornamentation at the cadences which provide the sectional framework for the structure of the piece. There are ossia staves to clarify some notation issues and provide suggested solutions to the playing of the ornaments. The passage work is at times exquisite and both musically and pianistically anticipates the compositional techniques adopted by later composers. The repeats are not played in the realisation Close
Added: 20th November, 2017 09:11 AM |
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This is the last movement of Haydn's Piano Sonata in D (Hob XVI:37). It is in rondo form (ABACA) with each section in binary form. The repeat signs in Show More...
This is the last movement of Haydn's Piano Sonata in D (Hob XVI:37). It is in rondo form (ABACA) with each section in binary form. The repeat signs in the sections bar 40 - 60 are optional. Ornaments have been written out in the score and are realised in the sound file and a tempo of at least 132 quarter note beats to the minute is recommended. Fingering is clearly specified and in the first instance I would suggest a consistent approach to playing the ornaments. A fairly dry acoustic is required and I would advise against too much use of the sustaining pedal. A convincing performance requires a light pianistic touch with the fingers kept really close to the piano keys. There is a a decrescendo at bar 90 but no rit. or slowing down. Sometimes the numbering of Haydn's keyboard sonatas appears confused but always refer to the Hoboken catalogue number for clarity. I would suggest listening to performances of this movement by some of the many excellent pianist that have made recordings. Close
Added: 27th July, 2017 11:07 AM |
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This is the full version of Mozart's Rondo Alla turka. One of the the most immediately recognisable and popular pieces of music in the repetoire wheth Show More...
This is the full version of Mozart's Rondo Alla turka. One of the the most immediately recognisable and popular pieces of music in the repetoire whether played on the piano or by other instruments. It is a very adaptable piece stylistically and in the repetoire of classical musicians, folk bands, jazz groups and café style ensembles. A piece with many repeating sections making it from a concentration point of view quite difficult to perform. It was Mozart himself who titled the piece Alla turca (Turkish March) as the music was intended to imitate the sounds of the instruments in the then familiar Turkish military bands. Understood to have been composed in 1783, a tempo in the range 110-120 quarter note (crotchet) beats to the minute is suggested and little use of sustaining pedal is advised although it can be used more readily in the coda or closing section. Close
Added: 27th July, 2017 11:07 AM |
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A concise pianistic movement in binary form selected for this collection to encourage fast playing. Players may wish to substitute alternative fingeri Show More...
A concise pianistic movement in binary form selected for this collection to encourage fast playing. Players may wish to substitute alternative fingering. A tempo range of 80-84 dotted quarter note beats to the bar is recommended - the realisation is 80 dotted quarter (crotchet) notes to the bar. Once the music has been studied and learnt players should perform the piece communicating a one beat one in a bar feel. The keyboard sonatas of Haydn, whilst not as familiar as Mozart's and Beethoven's, offer rich pianistic treasures and are well worth exploring. His 50 plus keyboard sonatas were composed between the 1750's and the 1790's during the period when the piano became the most popular keyboard instrument. Close
Added: 27th July, 2017 11:07 AM |
Views : 954
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This is a keyboard transcription of a movement from Mozart's Divertimento No 3 K439b for wind trio. Many of the distinctive and characteristic elemen Show More...
This is a keyboard transcription of a movement from Mozart's Divertimento No 3 K439b for wind trio. Many of the distinctive and characteristic elements of Mozart's compositional style are evident in this piece. The realisation has a tempo of 144 quarter note (crotchet) beats to the bar and is played without repeats. Musical ideas needed to be clearly articulated and the movement utilises a range of keyboard touches requiring a lightness in the hands and fingers. Keyboard players may wish to experiment with the suggested fingering for example, many music editors suggest using a different finger when the same note is repeated especially if there are staccato markings in the score. It is a technique that helps encourages lightness of touch. Close
Added: 27th July, 2017 11:07 AM |
Views : 1161
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Another movement from the rich treasure trove of Clementi's Opus 36 Sonatina's for piano. This is a slow Andante movement having a legato melody accom Show More...
Another movement from the rich treasure trove of Clementi's Opus 36 Sonatina's for piano. This is a slow Andante movement having a legato melody accompanied by a triplets. Ornaments have been written out and the score detail includes specified fingering. A tempo of 54 quarter (crotchet) note beats to the minute is suggested and the music editor advises minimal use of the sustaining pedal. Clementi spent much of his professional life working in England as a composer, performer and teacher although he also diversified into music publishing and the manufacture of pianos. His sonatinas are well known attractive pieces especially suited to the improver level player. He was one of the first composers to create works specifically written for the piano. Close
Added: 27th July, 2017 11:07 AM |
Views : 1461
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One of the most familiar pieces of the classical repetoire composed by the Italian composer, Luigi Boccherini. The work originated as part of his stri Show More...
One of the most familiar pieces of the classical repetoire composed by the Italian composer, Luigi Boccherini. The work originated as part of his string quintet Opus 11 No.5. In this arrangement the musical texture has been simplified into three parts - melody, harmonic/chord accompaniment and bass. This is an excellent and concise movement for any musician needing to have a clear understanding of classical style and the structure of the classical minuet. The realisation has all the indicated repeats played except in the repeat of the minuet when the convention is for them not to be played. The formal pattern or shape can be represented as Minuet AABB Trio AABB Minuet AB. The Trio is a second minuet and described thus because it generally has a three part texture. There is a considerable amount of score detail, including fingering, in the prepared score and the ornaments have been written out in full, in an ossia staff, to assist players. This movement requires a performance that is both delicate and consistent which can be challenging to players not very experienced in playing music of the period. A tempo of 100 quarter note (crotchet) beats to the minute is recommended. Close
Added: 27th July, 2017 11:07 AM |
Views : 983
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This is a very attractive piece which has in the recent past been used as the basis for a pop tune. It was composed by Clementi who was known in his o Show More...
This is a very attractive piece which has in the recent past been used as the basis for a pop tune. It was composed by Clementi who was known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are excellent pieces for improver pianists and keyboard players. Performance detail including specified fingering is marked in this score and a tempo of 120 quarter note (crotchet) beats to the minute is suggested and used in the realization. A rondo is a piece with a recurring theme. As a relatively fast piece a light playing touch will be needed. Close
Added: 27th July, 2017 11:07 AM |
Views : 1263
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A very appealing and familiar movement from the treasure trove of Beethoven's works WoO (Without Opus number) Originally composed for orchestra, the m Show More...
A very appealing and familiar movement from the treasure trove of Beethoven's works WoO (Without Opus number) Originally composed for orchestra, the manuscript was lost and the music has essentially been reconstructed from a piano arrangement. It is an excellent piece for improver (second year) player and this version for solo piano has the right and left hand fingering clearly specified. In performance the Minuet is played with repeats followed by the Trio section marked più mosso again with repeats. Finally, the first Minuet is repeated but this time without repeats. A rit. (slowing down) at the end of the two main sections (minuet and trio) is appropriate. The music editor urges those auditioning this piece to listen to many performances featuring different soloists get a clear vision of how the movement can and should be played. It is a Beethoven piece that frequently is played badly. A tempo of 110 quarter note (crotchet) beats to the minute is suggested for the first Minuet section and a tempo of 120 quarter note (crotchet) beats to the minute is suggested for the Trio section marked più mosso. Notes need to be clearly articulated and remember that the movement is full of humour and character. A plain score is appended to the edited music score. This score was reviewed and revised in 2020. Close
Added: 27th July, 2017 11:07 AM |
Views : 1254
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This is an arrangement for piano of Beethoven's Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of the st Show More...
This is an arrangement for piano of Beethoven's Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of the stylistic elements that feature in Beethoven's compositions. The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. The score is provided with prerformance detail including fingering. A high improver level arrangement. Close
Added: 27th July, 2017 11:07 AM |
Views : 1003
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This is Beethoven's original piano version of his Six Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of Show More...
This is Beethoven's original piano version of his Six Variations on a Swiss Air WoO 64. It is an excellent piece enabling players to identify many of the stylistic elements that feature in Beethoven's compositions. The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo. The movement has performance detail and suggested fingering. Close
Added: 27th July, 2017 11:07 AM |
Views : 982
Downloads : 1
